Interview: CK Maurer
Luca Curci talks with CK Maurer winner of the INTERNATIONAL CONTEST 18TH EDITION.

Clemens Maurer is a German artist and designer based in Berlin with a background in graphic design and over 20 years of experience as a freelance art director, primarily in publishing. Though not initially part of the traditional art world, he has always been deeply engaged with visual culture through photography and design. The advent of AI image generation marked a turning point in his creative journey, enabling him to explore emotional and surreal dimensions of visual art more freely. Today, he sees AI as a creative partner and uses it to delve into themes of identity, perception, and the intersection of the digital and personal, continuing a lifelong passion for visual storytelling.

Luca Curci – How did you get to your current artistic practice?
CK Maurer – My creative journey hasn’t been linear. After studying graphic design in Hamburg, I spent over 20 years as a freelance art director in publishing, always immersed in visual work. Alongside that, I’ve had a deep personal passion for art and analog photography, though time and technical limits often held me back. When AI image generation emerged, it felt like the tool I had been waiting for-it allowed me to bring long-held ideas to life and merge my background in design with my love for photography and conceptual themes. It removed traditional barriers and gave me the freedom to create more intuitively. Now, I’m in a continuous process of experimentation and growth, finally working in a way that feels creatively honest.

LC – What are your thoughts while you create art? Do you have any habits or rituals while you work?
CM – When I create, I try to stay open and intuitive, starting with a feeling or loose idea rather than a fixed plan. Working with AI adds to that sense of unpredictability, which helps me stay present and responsive. Throughout the process, I shift between emotional reactions and visual judgment, often asking if an image feels honest or evokes something real. I don’t follow strict rituals, but I need quiet and clarity to focus-ideas often come away from the screen, and when I work, it’s in short, concentrated bursts, usually with atmospheric instrumental music. Ultimately, it feels like a dialogue-between me, the images, and the technology.

LC – Is there an unrealised or unrealisable project, even a crazy one, that you would like to work on?
CM – I’ve always loved books-especially art books. There’s something timeless and intimate about holding a well-crafted publication in your hands, flipping through pages that tell a visual story. So yes, it would be an absolute dream come true to one day publish my own art book. But I also feel that I’m not quite there yet. I’m still in the process of experimenting, evolving, and refining my visual language. I want the work in that book to feel cohesive and truly representative of who I am as an artist. So while it might not happen tomorrow, it’s definitely something I carry with me as a long-term goal-both motivating and grounding at the same time.

LC – How is being an artist nowadays?
CM – Being an AI artist today means working within an ongoing debate about whether AI-generated images count as real art. For me, the answer is clearly yes-the ideas, intent, and curation are mine, and the AI is a creative partner, not a substitute. Still, I’m aware that many people and institutions are uncertain about how to classify this work, which raises personal questions about artistic identity. This moment reminds me of past shifts in art history, where new mediums like photography and video were initially doubted but later accepted. I believe AI art will follow a similar path. For now, being an artist means navigating that uncertainty, standing up for the value of this work, and helping redefine what art can be today.

LC – Which art themes do you pursue? What is your preferred subject, if there is any?
CM – My work consistently explores themes tied to the human condition-identity, vulnerability, isolation, and our evolving relationship with technology. I’m drawn to the human figure not for traditional portraiture, but for its emotional depth and symbolic potential. I often explore dualities like beauty and distortion or intimacy and alienation, creating images that feel familiar at first but reveal something strange or unsettling on closer look. Influenced by architecture, fashion, surreal environments, and visual culture, I remix these elements through AI to evoke emotional and psychological resonance. At the core, my focus is the human presence-used as a lens to question how we see ourselves and what remains of us in a digital world.

LC – What are your suggestions about our services? Is there something more we can provide to artists?
CM – So far, I’ve had a really positive experience. I’d especially like to highlight the fast, clear communication and the helpful support whenever I’ve had questions-those things make a big difference, especially when working together remotely. I’m genuinely excited about the exhibition and grateful to be part of it. Since I won’t be able to attend in person, I’m particularly curious whether there will be visual documentation of the event. That would mean a lot-not just for me personally, but also for sharing the experience with my audience online. Offering behind-the-scenes content, installation views, or post-event coverage could be incredibly valuable. Otherwise, I think you’re doing a great job supporting artists-thank you!

LC – Did you enjoy cooperating with us?
CM – Absolutely, i’ve really enjoyed working with you. The collaboration has been smooth, professional, and genuinely inspiring. I’ve felt supported throughout the process, and your responsiveness and clarity in communication made everything feel easy and well-organized. I’m truly looking forward to seeing how everything comes together and am proud to be part of the project. Thank you for the opportunity!