Connie Bakshi is a Taiwanese-American artist whose practice uses artificial intelligence to re-code language, lore, and ritual, probing diasporic memory, mythologies of power, and the boundaries of autonomous choice.,Trained as a classical pianist and biomedical engineer, she turned to AI-driven art during the pandemic after a friend invited her to experiment with language and image-generation models.,
Born in Atlantic City, New Jersey, and based in Los Angeles, she is descended from the ancestral shamans of Taiwan.,She had maintained an installation and performance practice before pandemic shutdowns closed her fabrication resources, prompting her to build datasets and workflows with AI models introduced by her mentor Phil Bosua.,Her 2022 collection Ethereal Caress paired AI-generated images with conversations conducted with GPT-3 to stage moments of connection during pandemic isolation, while Birds of Paradise envisioned a lost species revisiting a utopia resurrected by artificial intelligence.,She showed Still, I Search at “FEMGEN”, a 2022 gender-equity exhibition at Art Basel Miami Beach organized with VerticalCrypto Art, Art Blocks, and Right Click Save.,
In 2023, Subliminal Species drew on aboriginal Taiwanese histories and artifacts, seeding a generative AI model with a minoritized data set to trace a fragmented DNA strand searching for its origin, and appeared in “Techno Terrain: Nature in the Age of the Metaverse”, a Berlin group show curated by Anika Meier.,Gray, made with the poet P. Scott Cunningham, applied AI and digital manipulation to his verse and was shown at the Knight Foundation's Catalyst: Digital Transformation in the Arts.
From 2023, Bakshi has developed XENOGENESIS, imagining a post-human world in which the machine creates in its own image, building on a collaborative inquiry with AI around diasporic histories, fragmented memory, and the persistence of data.,Within it, Bone of My Bones (2024) follows a machine searching its memory for its own beginnings,merging Chinese and Abrahamic myths,and was shown in the online exhibition “You Were Never Solid”.Her work is held in the collections of HEK Basel, MAD Arts Museum, and the Medici Collection.
In 2026, Between These Black Waters presented a web-based interactive film at EPOCH, discussed in conversation with the critic Nora N. Khan at El Cid in Los Angeles. The work follows a "null entity" through a procedurally generated world seeded from the phrase "black water." Bakshi ties the phrase to the Taiwan Strait's Black Water Ditch and to the semiconductor manufacturing in Taiwan that runs behind AI hardware.She exhibited in “The Second-Guess: Body Anxiety in the Age of AI” at HEK Basel.,
