Our fascination with art reproduction has never faded. Imitation and duplication have always been a part of the creative process, from the first artisans to the most successful artists of today. Pablo Picasso has been credited with saying “good artists copy, great artists steal” and it speaks to this long-standing tradition.
Merely eight years ago, I was lugging around a physical portfolio to various cities for my entrance exams. Each piece hand drawn, watercolored, printed, books bound and ideas covered in tape and glue, today my portfolio is a ‘.com’, built on a template that already existed. Still art, still a display of my work, still an expression, but now I spend more time on what I want to make rather than how I want to make it.
We have now reached the moment when technology no longer simply serves as a tool but fundamentally alters how we produce and engage with art.
Walter Benjamin once said: “The work of art has always been reproducible. Objects made by humans could always be copied by humans, but even the most excellent copies fall short of the distinctive quality of the original.” In the present day, we are surrounded by countless opportunities. The way we make and appreciate art has been completely changed by technology, upending our preconceived notions of what is genuine and unique.
The Greeks, with their bronze sculptures, never imagined the woodcut, a tool that revolutionized graphic art. Before the printing press changed the written word, woodcuts hinted at what was possible. The typewriter transformed documentation, followed by computers, making creation and sharing easier. Photography evolved from glass plates to smartphones, and music shifted from live performances to digital streaming. Today social media and digital creative tools make us wonder if any art can really be considered “original” when it can be endlessly replicated with a few clicks.
The truth is more complicated. Originality is changing, not dying. In ways that were previously unthinkable, artists of today are blending inspirations, styles, and media together. The term “original” is becoming more and more inclusive, embracing a diverse range of viewpoints and opinions. The art world is being enhanced by this change, which is making it more diverse and representative of our globalized society.
In all that said, as an artist and designer, I too remain afraid, trying not to overly romanticize the situation we are in. Does my work diminish, given that anyone can make it? That unique aura that Benjamin mentioned seems to be disappearing.
The comfort now lies in thinking instead of focusing on the originality of a piece, we should appreciate the process, intention, and impact behind it. That is the one thing I believe in more than anything, my portfolio from eight years ago brought me as much joy as my current .com portfolio because I know my process and intention. In a world dominated by artificial intelligence, there is power in emotional intelligence, which is the very foundation of creativity.
In the end, originality isn’t dead. It’s transforming, driven by the same technological advances that are reshaping our world, the art of the future might look different, but its value and significance remain strong. It’s a testament to our ability to innovate and find beauty in ever-changing ways.
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