During a recent talk on AI and art at Luxembourg Art Week, I was asked two very simple, yet fundamental questions:

How do you integrate AI into your creative process?
And how do you see your role as an artist in all of this?

These questions come up often whenever AI and art are mentioned together. So I decided to turn my answer into a blog post and share a bit more of what happens behind the scenes in my work.

I’m Benoît Theunissen, a multimedia visual artist, and my main medium is photography. Over the last few years, I’ve started to deeply integrate AI into my creative process, not as a shortcut, but as a new set of brushes, actors and collaborators.

Photography is still my anchor point, but around it I’ve been building an ecosystem of digital tools: some generate images, others create music or sound design, others handle motion, video, or even 3D. I combine them the way you might combine lenses, lights, actors and a film crew. Each tool has its own role. My job is to orchestrate that ensemble. as an art director.

As digital art continues to evolve, so do the ways we display, sell, and collect it. But behind the screen lies a complex web of questions — about value, legality, taxation, and material presence. In this post, I share my perspective as a digital artist navigating the practical and philosophical challenges of turning intangible works into lasting experiences.

In my previous blog post, I explored different ways of distributing, exhibiting and collecting digital art, with a particular focus on the increasingly vital role of galleries. The scenography of digital works is a key part of this equation: how can we present digital pieces in a physical space in a way that enhances their impact? And as an artist, how can I step into the shoes of a collector seeking to integrate these works into their daily environment?

My goal remains the same: to show that digital art can be seamlessly integrated into everyday life, without requiring overly complex or expensive technical setups. The challenge is to strike a fine balance between user experience, display quality, and economic accessibility.

But presenting digital works in a clear and engaging way is not the end of the road. One must also be able to demonstrate their value. A fully virtual, dematerialised piece inevitably raises questions about its artistic and commercial legitimacy.

As I prepare Terra Numerica, my upcoming exhibition in Luxembourg this November, I find myself facing both a concrete and symbolic challenge:
how can digital art fully exist in a physical space?

This exhibition is designed as a sensory exploration of digital realms, but it also, almost inevitably, raises deeper questions: how is digital art perceived, circulated… and consumed? And perhaps more urgently: how can it be inhabited?