Iride Scent is an Italian artist and educator working between digital and analog practices. Her research focuses on marginal aesthetics, with particular attention to the grotesque and the transformations of the contemporary visual imaginary. Artificial intelligence is central to her work as a tool for investigating image-making processes and the relationship between humans and machines. She also engages with the concept of memory, constructed through surreal historical forgeries that challenge the stability of collective recollection and the boundaries between real and imagined.

Her work brings into relation digital iconographies and visual experimentation, questioning established forms of beauty and the processes that define the contemporary image. Alongside her artistic practice, she teaches Technologies and Techniques of Multimedia Communication, engaging with visual languages, digital culture, and artificial intelligence. Through this work, she reflects on how images are produced and circulated within algorithmic systems where documentation, fiction, and simulation blur.

Her practice constructs and traverses a system of instability within the contemporary image, where the distinction between document, fiction, and simulation is no longer verifiable. Through artificial intelligence and hybrid processes between digital and analog, images are generated, falsified, and reworked as ambiguous archives, where credibility is not a stable given but a temporary condition.

The body is not an anatomical fact but a field of continuous variation: it hybridizes, dissolves, and mutates through the image and alongside it. Memory is not content to be represented but a manipulable structure, rewritten through historical forgeries and surreal narratives. In this space, the image does not preserve the past but produces it as an unstable effect — and the body does not precede the image, but emerges from it, unrecognizable.

Authorship weakens in the relationship between human and machine. What emerges is not a representation of the real, but a field in which body, image, and memory are continuously simulated, believed, and deactivated. In this tension, the image is no longer evidence: it is a system that produces and dismantles its own conditions of truth.