BORIS ELDAGSEN - GOOD GIRL

Technique : Hahnemühle Fine Art Print.
Motif size : 20 x 20 cm.
Sheet size: 30 × 24 cm.
Exclusive 2022 edition.
Edition: 10 + 2 AP
Signed, dated, and Ed. No. by the artist on the reverse in pencil.

Boris Eldagsen – Good Girl

Good Girl is among the most disturbing works in Pseudomnesia I because it deliberately operates with moral and iconographic shortcuts. The image quotes the visual language of classic children's portraits: innocence, intimacy, closeness to the animal as a sign of purity and trust. But this familiar iconography tips into the uncanny. The child's gaze is empty, almost adult; the relationship with the animal appears not protective, but ambivalent, latently aggressive.

This is where the true explosive potential of AI-generated images becomes apparent. The AI ​​not only reproduces historical aesthetics but combines them into constellations that are psychologically plausible yet ethically unstable. "Good Girl" simulates innocence without actually possessing it. This is precisely where the unease lies: the image evokes empathy but denies any narrative reassurance.

Eldagsen uses AI to liberate photography from its moral automatism. What was once interpreted as proof of purity becomes, here, an assertion without reference. As the self-proclaimed "gravedigger of photography," Eldagsen demonstrates that AI-generated images don't document, but condition. Good Girl is not a portrait, but a trap for our visual habits—and a precise commentary on the fragility of photographic meaning in the digital age.