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ISSN: XXXX-XXXX SPECIAL ISSUE 2025
This work is licensed under an Aribution-NonCommercial-NoDerivatives 4.0 International license.
to have a playful theme so for that I chose colours
that reminded me of childhood, blue and pink. I also
chose to stick with simple shapes such as squares,
rectangles, and circles.
Aer experimenting with AI generated images,
I chose a favourite and started some concept
sketches. I started with a 2’ x 2’ canvas and painted
it a creme colour. I then started with the crochet
This special issue of Future Earth Journal:
Explorations in Art and Generative AI showcases
the work of visual art students from the Fall 2024
Selected Topics visual art course Explorations in Art
and AI. Each featured artist engaged with genera-
tive artificial intelligence (Gen AI) to create original
artworks that respond to and reflect on current
conversations in art and technology. Through their
unique practices, these students explored Gen AI as
a tool, a collaborator, and/or a conceptual influence.
The artworks featured here—and in the exhibi-
tion held at the TRU Art Gallery from March 17–29,
2025—highlight the cultural, ethical, environmental,
and creative dimensions of using Gen AI in artistic
production.
Kaitlyn Bartle is one of the participating art-
ists whose work exemplifies this exploration.
AI Tool: DALL-E, Canvas Magic media (AI image
generator), and Google Gemini (AI chatbot)
ARTIST STATEMENT
For my final project in the Selected Topics,
experiments in AI Art, I wanted to create a mixed
media piece that combines my two favourite artistic
mediums, painting and crochet. I wanted my piece
A CROCHET KALEIDOSCOPE
Kaitlyn Bartle
Bachelor of Fine Arts (Expected 2026)
Figure 1. A Crochet Kaleidoscope (2024) by Kaitlyn Bartle.
[yarn texture visible] Acrylic and Yarn on Canvas, 24" x 24"
(Image credit: Twyla Exner)
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Process
Kaitlyn used DALL-E to iterate ideas for
abstracted crochet “paintings”. Referencing those
images, she chose shapes, paerns and composi-
tions that were of interest to her to create her own
physical crocheted painting.
In A Crochet Kaleidoscope, Kaitlyn created a
vibrant mixed media piece combining painting and
crochet. Using AI tools—Canvas Magic Media for
image generation and Google’s Gemini chatbot
for planning—she gathered visual inspiration and
mapped out her creative process. AI acted as a col-
laborative tool, helping her explore colour palees,
stitch styles, and layout ideas she may not have oth-
erwise considered.
Her work was inspired by artists who blend
media in compelling ways: MK Meen’s embroidered
painting [see this art in MK Meen’s self-wrien
article in Bored Panda (file:///.///tru_vfiler1.tru.
univ/home/Dcollins/TRU Open Press/2025-2026
Projects/NON_adjudicated/Future Earth_Student
Research Articles/special issue 2025/I Combine
Painting And Embroidery To Make Mixed-Media
Animal Artworks (10 Pics)) (2024)], David Szaud-
er’s AI-generated Anatomy Sweaters (hps://www.
davidarielszauder.com/anatomy-sweaters), and
Kira Xonorika’s bold, playful use of colour [you can
check out Kira’s art on the Brea Art Gallery website.]
(https://www.breaartgallery.com/kira-xonorika).
These influences helped Kaitlyn develop her project
appliques and measured them on the canvas to
get the right sizes. Aer my crocheting was done, I
started with sewing them on with a simple running
stitch.
I want my artwork to give the viewer a playful
and child-like feeling. Growing up I always got hand-
made gis, so the crochet elements remind me of
an early childhood memory.
The only big challenge I faced when creating
this piece was sewing the crochet pieces near the
very edges of the canvas. The wood stretcher in the
back was geing in the way of my sewing so I used
a pair of tweezers to push the needle through the
back.
My intended audience is anyone who
views it and my intended response
from them is to appreciate the tex-
tures of the crochet. I did dierent
stitches for each applique to give it
a variety of textures. I also want the
viewer to have a sense of freedom and
cheerfulness when interacting with
my piece.
Figure 2. A Crochet Kaleidoscope by Kaitlyn Bartle (2024).
Mixed media, acrylic and yarn on canvas, 24" x 24"
(Image credit: Nicole Favron)
Figure 3. DALL-E generated Image based on
crochet painting prompt
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The project presented challenges, particularly
translating AI-generated stitch imagery into real
techniques.
A challenging aspect for me when
looking at this project is that AI has a
hard time actually creating stitches.
It will just kind of clump yarn up and
make it ‘look’ like a common stitch.
Still, Kaitlyn embraced these hurdles as part
of the creative process, producing a dynamic, tac-
tile work that merged traditional cra with digital
innovation.
theme of playfulness, reflected in a bright palee
of pinks, blues, greens, and yellows, and a variety of
textured crochet stitches.
She began by priming and painting a canvas,
then crocheted individual elements using dier-
ent stitch types, including the spider stitch—new
to her practice. Each stitch type and colour held a
specific place in her final design. Once arranged, she
hand-sewed the crochet pieces onto the canvas,
carefully balancing paint thickness to ensure easy
aachment.
Figure 4. DALL-E generated Image based on
crochet painting prompt
Figure 5. Artist Concept and Planning (2024) by Kaitlyn Bartle.
(Image credit: Kaitlyn Bartle)
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A Crochet Kaleidoscope (2024) by Kaitlyn Bartle. [yarn texture visible] Acrylic and Yarn on Can-
vas, 24" x 24" (Image credit: Twyla Exner)
