Series: Conspiracy

Misinformation and art intersect to explore and navigate the confusion between reality and fiction that typifies our times in the work of net artist Tim Boucher.

In works that run the gamut from books and hand-printed samizdat zines to the use of generative AI for video, text, and image-making, Boucher’s work uses hyperreality to delve into the murky shadows of the Uncanny Valley, evoking a weird, sometimes disorienting feeling of surfing the very edge of the collapse of meaning. Weaving together real and invented, human and AI elements to seamlessly blur the lines between them, Boucher exploits this chaos to create new semiotic spaces for radical meaning-making. Structurally, the work appropriates, satirizes, and detourns the forms and tropes of conspiracy theory, re-imagining them as a new form of art, and igniting them with the fuel of runaway AI.

While the contents of conspiracy theories often tend toward the ghoulish, harmful, or just plain wrong, they are inherently postmodern, acting as a vehicle for questioning established truths and power relationships—an activity which serves an important social function, if in many cases misguided in its ultimate application. Conspiracy theorists reject grand “official” narratives and instead create their own ad hoc temporary webs of meaning, challenging the legitimacy of the structures we rely on and deep beliefs previously taken for granted. The work asks big questions about whether there could be a way for art to reclaim this function of social critique that conspiracy theories currently embody in the popular consciousness, redirecting it towards more fruitful and creative ends?

The artist’s professional background in content moderation and censorship informs the work, at times borrowing from disinformation techniques observed in the field by state actors, repurposed as storytelling tools in open-ended creative networked narratives, and SEO manipulations to show how easily depictions of “reality” can be twisted and propagated. Misinformation is used here by the artist openly—not to deceive, but to reveal how fragile our systems for defining truth really are. The works expose how the artist’s role as propagandist, deploying “weaponized” artifacts to attempt to subversively actualize or undermine real or potential current or future states.

As a satirist working with the mode of the conspiracy theorist, the artist knowingly inhabits and exaggerates the conspiratorial narrative forms they aim to critique, imploding them from within. As the Onion’s amicus brief on parody put it, “Parodists intentionally inhabit the rhetorical form of their target in order to exaggerate or implode it”—a technique central to this practice.

Inspired by Dada absurdity, the artist’s ‘Nevermades’—collections of AI-generated artworks appearing to involve famous museums and galleries—extend Duchamp’s readymades concept into the post-truth, remote-first digital age, challenging the idea that authenticity requires physical presence – or even actual existence in the first place. These imagined or “aspirational” artworks (like flooding the Guggenheim Museum, and filling it with willow trees and beavers) comment on the art world’s status symbols—galleries, exhibitions, facades and physical artifacts—that can now be artificially fabricated at scale, significantly challenging their value in an online world dominated by images.

The use of AI serves to heighten the inherent tensions in the work. AI is used consciously as both a force that flattens expression into sameness and conformity and as a tool to rebel against the algorithmic culture of likes, shares, and validation – by exploiting and exposing the outliers, anomalies, errors, and vulnerabilities of these technologies. By transparently incorporating AI, the work proudly wears the use of these technologies as a kind of “scarlet letter,” confronting head-on the stigma against its use in creative sectors, and reimagining it as a vehicle and medium all its own for artistic exploration. At the same time, it shines a light on the absurdities and limitations of these technologies, and holds a mirror up to our own evolving reactions to them.

Ultimately, this metamodernist body of work oscillates between the deadly serious and the dangerously stupid and absurd, revealing the fragile and easily manipulated nature of our information systems and the social and political systems which rely on them. The work encourages the audience to consider conspiracy theory as an unrecognized folk art form—provocative and dangerous, to be sure, but one in many ways much like any art or cultural movement that questions authority. It disrupts the established order, challenges accepted facts, and compels us to face the instability of the narratives we hold onto, and, in its best form, opens up the space for change how things are today into how they could be, how we would likek them to be.

AI, misinformation, conspiracy, and hyperreality converge here to ask a simple but potent question: what is real, and who gets to decide?