AI art work commissions 

Crafted original digital art & AI video artworks are available for your needs, either ready work, or tailored, utilising a cutting-edge AI service that blends innovation, technology, and artistic vision. 

It fits a variety of outlets, including companies, galleries, museums, festivals, fairs, brands, public art displays, and music events. There is a large portfolio of work available, or bespoke work can be tailored to meet the unique needs of any project or purpose.

The work is made by Guli Silberstein on a personal attentive basis. With years of experience in digital media making in both the art and corporate world, Guli has proven specialisation in integrating digital tools into creating powerful moving images and captivating visual storytelling. 

Using generative models, his expertise and creativity help brands, artists, and businesses push imagination boundaries to achieve ground-breaking results. When needed, collaboration can take place, with specialists such as videographers, musicians, architectural designers, animators, graphic designers, and audio-visual companies. 

The philosophy is a belief in 'the human in the machine', harnessing the power of visual effects & AI, blending it with human creativity, imagination, and uniqueness to forge the truly new art of the 21st century.

Let’s bring your dreams to life with AI. Join in exploring the fusion of technology and human artistry. 

Some Work Examples:

• Commission launched online, supplying AI video footage for a PR music video for immersive nightlife experience by Seva Granik

https://www.instagram.com/p/DH3po4gO6oA/

• Overcome - a short AI film - screened on a building in Kinomural festival (2024), Wroclaw Poland, main section award winner, and more festivals:

https://www.youtube.com/watch?v=6ARJiAZ7w2Y

https://www.facebook.com/kinomural/videos/599868216038817/

• 'Cycles of Creation' - feature AI film - also screening in Kinomural festival (2023), outdoors on a building, to thousands of people - Wroclaw Poland 23.9.23, and many more events such as Nova Rio Biennial of Art and Technology', Rio Brazil (2023): https://www.stirworld.com/see-features-the-upcoming-nova-rio-biennial-of-art-and-technology-is-all-set-to-take-rio-by-storm

https://www.youtube.com/watch?v=H4dNl9buccg

• Download festival - 6 videos 60 seconds long - for 92 thousand people - videos start with festival logo and then morph out and into it

https://vimeo.com/showcase/10431251?share=copy

Pass: Down23

• Video editor showreel (Sky, BBC, CNN and more):

https://vimeo.com/159636116

• MIND/MIRROR AI video grid installation: 

http://www.guli-silberstein.com/mind-mirror-project.html

• Video artworks on ARTPOINT, a leading platform for the promotion and exhibition of digital art. A number of the videos were shown in a number of shows: https://www.artpoint.fr/artists/guli-silberstein

• Sedition Art - the pioneer digital art platform selling limited editions - curated artist alongside Tracey Emin, Bill Viola, Yoko Ono and others: https://www.seditionart.com/guli-silberstein

And check social media for more videos and updates:

Facebook: https://www.facebook.com/guli.silb/

TikTok: https://www.tiktok.com/@gulisilb

Instagram: https://www.instagram.com/gulisilb/

Linkedin: https://www.linkedin.com/in/guli-silberstein-02402430/​

Public Talks, Interviews & Panels

2015

• Late 2015 – “New Artist Interview” (DegreeArt.com): An in-depth Q&A interview with Guli Silberstein was published on the online art gallery DegreeArt’s blog around late 2015 (degreeart.comdegreeart.com). In this written interview format, Silberstein discusses works like Cut Out (2014) – a piece deconstructing YouTube footage of a Palestinian girl confronting soldiers – and Machinic Phylum (2015). Host/Platform: DegreeArt (online). Themes: He describes freeing images from their context to evoke empathy, explaining that isolating the young girl in Cut Out highlights her “genuine anger” and suffering beyond political judgmentdegreeart.com. Much of the dialogue centers on his practice of digitally manipulating conflict footage to “raise awareness to the fragility of life” and protest state violence (degreeart.com).
  
  

2017

• Jan 2017 – “Line of Violence” Interview (DAFilms/Doc Alliance): Doc Alliance Films featured Silberstein in an online program Line of violence. Short, intensive and highly artistic, which ran until Jan 29, 2017 dafilms.com. It included a curated screening of his short experimental films and an exclusive email interview. Host/Platform: DAFilms (DocAlliance website). Format: Written Q&A published online dafilms.com. Themes: Silberstein discusses why his work frequently deals with violence and war imagery, tracing it to personal experiences of conflict. He recounts discovering experimental film in New York and creating Schizophrenic State (2000) using news footage of the Israeli–Palestinian clashes dafilms.com. He credits influences like Brakhage, Paik, and Marker, and explains his obsession with extracting violent media images to “show them in a new light, bringing back the humanity… and promote empathy.” 

• May 27, 2017 – RCA “Ecstatic Truth II” Symposium (London): Silberstein was a speaker and panelist at the Ecstatic Truth II: Lessons of Darkness and Light symposium on animated documentary, held at the Royal College of Art, London expandedanimation.net. Format: Conference presentation (20–30 min talk) + panel discussion. Host: RCA Animation department (Animation Research, with Dr. Tereza Stehlíková and Dr. Birgitta Hosea). Talk Title/Topic: “The Schizophrenic State Project” - expandedanimation.net – Silberstein presented his long-running project (2001–2014) in which he appropriates news footage of violence, war and protest (especially from the Israel–Palestine context) and transforms it via digital “glitch” processing into poetic experimental videos - expandedanimation.net. He demonstrated how re-editing and distorting mass-media images serves as critique of news media and highlights hidden meanings. Panel: He later joined a panel (with other presenters) to discuss animated documentary techniques and ethics. Location: RCA, London (in-person).
  
  The project was also presented in other conferences and guest lectures in 2017-2018, including in Bath SPA University, MeCCSA 2018 London South Bank University & the University of Portsmouth.
  
  

2019

• Dec 12, 2019 – Guest Lecture & Screening (Collegium Da Vinci, Poznań): Silberstein delivered an invited artist lecture titled “Media, Art & News: Guli Silberstein’s Work” (title as inferred) with a film screening, hosted by the City of Poznań and Collegium Da Vinci University poznan.pl. Format: In-person lecture (with Q&A) plus a special screening of one of his video works. Location: Collegium Da Vinci, Poznań, Poland poznan.pl. Details: The event was free to the public (pre-registration required) and took place in a university auditorium poznan.pl. Silberstein spoke about two decades of experience as a video artist/editor and contextualized his practice of reprocessing news imagery in art poznan.pl. According to the official announcement, he discussed how his “Schizophrenic State Project” and other works “extract, process and re-contextualise images of violence, suffering and protest from news media” to create new critical forms poznan.pl. Hosts: City of Poznań Culture Dept. & Collegium Da Vinci.
  
  

2020

• Mar 3, 2020 – Found Footage Magazine Interview (Issue #6): A detailed print interview with Guli Silberstein was published in Found Footage Magazine (a specialty film journal) on March 3, 2020guli-silberstein.com. Format: Print Q&A interview (in English; available in the magazine and via purchase onlineguli-silberstein.com). Interviewer: José Sarmiento Hinojosa. Content: This in-depth interview (available in the magazine’s issue #6, 2020) explores Silberstein’s techniques of appropriating archival and online footage. He discusses at length the “Schizophrenic State Project,” his use of found footage and glitch effects, and philosophical questions about reality and media that underpin his work. Key insights include how détournement (rerouting media images) in his videos serves as both artistic method and political commentary.
  
  

• Oct 31, 2020 – Ji.hlava IDFF Online Q&A (Czech Republic): Following the European premiere of The Devil Had Other Plans (Act II) – Silberstein’s experimental short – at the 24th Ji.hlava International Documentary Film Festival, an online Q&A session was held on Oct 31, 2020guli-silberstein.com. Format: Virtual Q&A panel via Zoom (due to the pandemic) with festival curators. Host: Ji.hlava IDFF, DocAlliance online program. Moderator: Andrea Slováková (experimental program curator)guli-silberstein.com. Details: Silberstein answered audience and curator questions for about 90 minutes (31 Oct 2020, 4:00–5:30 PM CET) guli-silberstein.com. Discussion centered on the “Devil Had Other Plans” series, a glitch-driven reworking of George Romero’s Night of the Living Dead as a response to the COVID-19 crisisguli-silberstein.comguli-silberstein.com. He explained the series’ themes of pandemic paranoia and “digital decay” as reflective of contemporary anxieties. Platform: The film streamed on the festival’s site and DocAlliance (DAFilms) for a week, with the Q&A accessible online.
  
  

• Nov 25, 2020 – Sedition Art Interview (Online Magazine): Sedition (a digital art platform) published an official interview with Guli Silberstein in their online magazine on this date seditionart.comseditionart.com. Format: Written Q&A article titled “Interview with Guli Silberstein.” Host/Interviewer: Sedition editorial team. Context: Timed with the launch of Silberstein’s artwork Somewhere We Live in Little Loops – Special Edition on Sedition, the interview explores his practice in the age of AI seditionart.com. Themes: Silberstein discusses recent projects like The Devil Had Other Plans series and Somewhere We Live in Little Loops. He describes how applying AI “next-frame prediction” algorithms to video allowed him to create “a string of processed shots of nature and humans… a sort of audio-visual poem.”. He reflects on AI as a creative collaborator versus toolseditionart.com, noting that working with machine intelligence “blew my mind…[it] guesses the next frame…creating visuals that have not been seen before”seditionart.com. He also addresses ethical concerns: machines lack inherent ethics or understanding of subject matter – e.g., an AI will “merge a girl and a field…with no hesitation,” which “shows how those machines can definitely create stuff” yet raises worries about control and responsibility seditionart.comseditionart.com. Link: Full text available on Sedition’s site seditionart.com.
  
  

2021

• May 13, 2021 – hARTslane “Moving Harts” Interview (Online): As part of hARTslane Gallery’s Moving Harts series in London, an interview with Guli Silberstein (conducted by curator Rachel Lonsdale) was published on May 13, 2021 hartslane.org. Format: Written Q&A (blog post). Host: hARTslane Gallery (London) – Moving Harts project, which paired weekly outdoor video screenings with artist interviews in Spring–Summer 2021 hartslane.org. Content: Silberstein answers questions about his artistic influences and process. He discusses coming from a fine art background and how painters (e.g. J.M.W. Turner) and experimental filmmakers inspire his visual style dafilms.comseditionart.com. He elaborates on his video processing techniques, the message behind works like Disturbdance and Meltdown, and how living in London with Israeli heritage shaped his perspective. Themes: A recurring theme is the manipulation of images to question reality – “processing and manipulating video footage as images are fed to [us]” guli-silberstein.com. He also speaks about the emotional impact of digital distortion, noting how glitch and cut-out techniques can evoke empathy or critical distance. 

• Oct 2021 – Ji.hlava IDFF Interview (Video Q&A): In October 2021, during the 25th Ji.hlava IDFF, Silberstein took part in an online video interview hosted by Andrea Slováková (festival programmer). Format: One-on-one interview recorded on video. Platform: Ji.hlava Festival YouTube channel guli-silberstein.com. Content: The talk likely centered on Silberstein’s first feature-length film Image of Perception (2021) and his experimental shorts. Slováková and Silberstein discuss the intersection of documentary and experimental art in his practice, aligning with Ji.hlava’s focus on documentary innovation. Themes: Key subjects included the evolution of his “image of perception” concept – using AI colorization on a 1920s film to explore memory and vision – and broader reflections on the “ecstatic truth” in manipulated images. He also addresses the role of the viewer’s perception, a topic on which he often comments: how audiences might identify with elements in his abstract works or feel immersed.

2023

• September 22, 2023 - Art in public space. Kinomural panel discussion - a live panel discussion titled “When Zlatan Comes to Your House, You Are the Guest” at the Kinomural Festival in Wrocław, Poland. Joined by curator Becca Keating and muralist Zbiok Czajkowski, and moderated by Adriana Prodeus, the talk explored the challenges and dynamics of presenting art in public space—particularly how artists engage with accidental or uninitiated viewers. Silberstein likely reflected on his glitch and AI-driven video works, discussing how they are perceived outside traditional gallery settings. The panel served as a prelude to Kinomural’s outdoor projection event, which featured 75 works, including his, screened across city walls.

• Dec 7, 2023 – BISFF “Correspondence” Interview (Beijing Intl. Short Film Fest): The Beijing ISFF published an email Q&A with Guli Silberstein as part of their “BISFF Correspondence (通信计划)” series (Vol. 14) bisff.cobisff.co. Format: Written interview (bilingual English/Chinese) posted online. Host: Beijing International Short Film Festival 2023. Context: Silberstein’s short Cycles of Creation: Variation 2 (2023) was featured in BISFF’s Cycles of Creation program.. Instead of live post-screening Q&As (difficult due to international participation), the festival emailed questions to filmmakers. Content: The Q&A (interviewer: Qiao Yu乔屿) delves into Silberstein’s creative process, especially the interplay of music and visuals in Cycles of Creationbisff.co. He explains that he first crafted the visuals “by my internal time perception,” then later found a piece of music (“Meditation”) which “magically fitted the visuals’ pacing” bisff.co. He notes the lack of direct collaboration with the composer but describes a “dialogue through the music” in how sound shapes the hypnotic, immersive feeling of the piecebisff.co. Other questions address the immersive experience of the film – one viewer felt as if they became “one of the particles” moving through nine life cycles – to which Silberstein agrees the goal was identification as “pure living consciousness” while watchingbisff.co. The final question compares the film’s voice-over to Donna Haraway’s Cyborg Manifesto, asking about the identity of the speaker (revealed as an AI). Silberstein’s answers shed light on his intentions to blur human and machine voices in service of “a better future for all,” tying into his theme of cybernetic perspectives on humanity. Platform: BISFF website (article format). Link: Official BISFF post (Chinese & English text) bisff.cobisff.co.

2024

• Oct 20, 2024 – Message To Man Festival Talk (St. Petersburg, via Zoom): Silberstein was invited as a guest speaker at the Message to Man International Film Festival 2024 (St. Petersburg, Russia). He gave an online talk via Zoom on Sunday, Oct 20, 2024 (during the festival dates). Format: Virtual lecture/presentation followed by discussion. Host: Mikhail Zheleznikov (festival programmer) and Message to Man IFF. Topic: “AI Art as a Disruptive Force”. Silberstein spoke about the emergence of AI in video art and how it connects to his two decades of work. He traced a line from his early experiments (circa 2001) to his contemporary AI-driven videos, arguing that AI represents a new “disruptive” phase in art comparable to earlier digital glitches. He posits that AI art can subvert traditional visuals and “refigure the contemporary context” of imagery (for instance, warping reality in novel ways, as seen in his 2023 works). Key points: Silberstein emphasized continuity in his practice – from manually “breaking apart” video signals in the 2000s to now coaxing neural networks to generate unforeseen images – all aimed at challenging viewers’ perception of reality. He likely referenced works like Overcome (2023), which use AI to animate static images into “creepy, lyrical, hallucinatory scenes.