Axl Le

Axl Le portrait

Axl Le (b. 1989) is a visual artist who builds imagined worlds and narratives through 3D software and computer graphics. Since teaching himself digital tools in 2016, Le has focused on exploring the relationships between nature and technology, society and the individual, and the present and the future. Le’s practice spans CG-based video works, VR-driven immersive experiences, and experimental uses of AI as a creative tool. Reflecting on formative events in Le’s life while reconsidering Le’s surroundings and relationships, Le’s works foreground narrative sensibility and emotional depth. Moving fluidly between video and installation, Le continues to expand a distinctive visual language that tests the intersections of imagination, technology, and storytelling.

Artworks
  • Digital Eden, 2025, Game engine–based animated film, color, sound, projection, 20 min.
    Digital Eden, 2025, Game engine–based animated film, color, sound, projection, 20 min.
    Digital Eden combines the technical languages of game engines, artificial intelligence, and 3D animation to explore the aesthetics and contradictions of the digital world. The work reveals that technology functions not merely as a tool for producing images but as a system that constructs perception and defines reality. The “digital Eden” depicted in the film is a simulated space where algorithms mimic order and paradise, yet all forms of beauty within it are ultimately reduced to consumable data. The artist situates this virtual utopia in a state where visual pleasure and systemic collapse coexist, exposing the cyclical relationship between technological autonomy and human desire.In Digital Eden, the AI drone “Eve” appears as both the producer and observer of images. The drone records and interprets data through a nonhuman gaze, performing a digital archaeology that replaces human memory while simultaneously generating algorithmic replication and the automation of perception. This structure reveals how humans, even as they design technology, are reprogrammed by it, their perception reshaped by its logic. Ultimately, Digital Eden visualizes digital art not as a representation of technology but as a medium through which technology itself redefines artistic form and perception. In a condition where the real and the virtual are inseparable, the work delicately exposes the paradox of a system that dreams of utopia while inevitably generating its own dystopia.
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Artist Responses
What media and technical components make up this work?It’s composed of 3D animation created with a game engine, incorporating AI generative technologies for both the visuals and sound.Is conversion into other formats possible?No, the work cannot be converted into other formats. It exists only in this specific form.Are there plans to migrate or emulate this work in response to future technological changes?If necessary, the work could be upgraded or reconfigured as a virtual world, allowing viewers to explore the environment more immersively.What should be prioritized to ensure the long-term care of this work?The most important thing is to preserve the USB that contains the original data.What do you consider the essential element that must be sustained, even if the medium changes?Since the work fundamentally exists as a video file, changing the medium would alter its nature. The digital file itself is what must be preserved.Does the work depend on specific technical forms or hardware?No, it does not rely on any particular hardware or device. It can be shown on standard playback systems.What are the most important environmental conditions for installation (such as space, lighting, or sound)?There are no strict conditions. The work can be adapted to the space and environment of each exhibition.To what extent can the work be reinstalled in the future without the direct involvement of the artist?It’s quite simple. Connecting the USB to a playback device is all that’s required.Can the current form of the work be maintained in the future?Yes, If the USB malfunctions, it can be replaced under warranty to maintain the work in its current state.If specific equipment or components fail, can they be replaced?Yes, replacements are possible depending on the type of damage. However, if the damage results from negligence, for instance, dropping the USB into water, preservation cannot be guaranteed.Are there any particular points you would like to emphasize or considerations to note regarding the preservation of the work?I think it should be treated much like a sculpture or painting with the same level of care and attention.