So now everyone can draw?

Big question: Will AI democratise art? Major auction house Christie’s held its inaugural AI art auction titled Augmented Intelligence recently, which featured AI artworks such as this print created by ClownVamps The Junk Machine. — AFP

IN the past week or so, social media feeds have been flooded with stylised portraits bearing an uncanny resemblance to the iconic animation style of much-loved Japanese production house Studio Ghibli.

But these are not new materials from the studio’s latest animated film; they are images generated by OpenAI’s most recent generative artificial intelligence (AI) model, ChatGPT-4o, which was launched late last month.

Many have since enthusiastically embraced this new trend, including Prime Minister Datuk Seri Anwar Ibrahim and his deputy, Datuk Seri Dr Ahmad Zahid Hamidi.

In the caption of his “Ghibli-fied” portrait, Zahid jokingly says, “Joining the trend too. But I think I look younger.”

Yet behind the playful posts from people of all backgrounds – from politicians to celebrities to the general public – there is a conflict that has long been brewing about the role of AI in the creative process, exemplified by a 2016 quote about AI from legendary Studio Ghibli director Hayao Miyazaki: “I am utterly disgusted. I strongly feel that this is an insult to life.”

While not all creative professionals share the same visceral rejection of the technology, many are understandably nervous that their expertise will become irrelevant with the “democratisation” of creativity, where anyone can make art in just a few minutes by typing in a prompt.

Some creative industry players warn that an unchecked democratisation of art could threaten careers, while others agree with Malaysia’s National Artificial Intelligence Office (NAIO) that responsible and skilful use of AI as a tool could augment human artistry.

The age of amateurs

“Generative AI poses a real threat to entry-level creative jobs like junior architects, writers, and illustrators, especially in commercial fields,” says architect Ihsan Hassan, who runs an eponymous traditional and classical architecture firm.

“If left unregulated, this could accelerate inequality within already precarious creative economies in Malaysia. People who graduate with industry degrees are already one of the lowest paid in Malaysia.”

But NAIO head Shamsul Izhan Abdul Majid stresses that the first principle of AI is not to replace anyone.

“It is just there to augment or make better the tasks that humans can do.

“AI is just a tool. But if humans purposely take themselves out of the loop, then there’s nothing much the ecosystem can do,” he tells the Sunday Star.

Shamsul Izhan stresses that the first principle of AI is not to replace anyone, but to augment human capabilities.

Shamsul says NAIO’s engagement with different sectors has revealed that the fear of job displacement cuts across many industries, not just for creatives.

At the same time, he says, there is also excitement about what this new technology can do as it becomes better and better.

Right now, even with the latest ChatGPT model’s ability to “Ghiblify” portraits, Ihsan notes that art created by current “weak” AI technology tends to be repetitive and derivative.

He is confident, however, that the existence of improved generative AI is just a matter of time, and then it will truly be the “age of the amateurs”, as he puts it.

This does not necessarily herald doom for creative professionals, as Ihsan says the difference in perspectives between an amateur and a professional could open up a bigger market of ideas to the creative industries, such as architecture.

“Modern architects who have been practising within this esoteric knowledge of architecture and intellectual, highfalutin ideas will be challenged by amateurs who are more concerned with other parts of architecture, like style or comfort,” he says.

Of course, he adds, this is contingent on a well-regulated and well-planned vision from the government for the adoption of AI technology.

“The state must step in, not just with regulations but also with a vision for workforce transition, education, and ethical implementation.

“The Malaysian government is not new to this; we have always had labour upskilling programmes under the Human Resources Development Fund, for example,” says Ihsan.

Aside from establishing the NAIO last August, Putrajaya also launched the National Guidelines on AI Governance and Ethics last September.

Shamsul also sees education and upskilling as an important part of AI adoption in creative industries.

“Don’t be shy about it. Use it as an extension of your creativity, and part of the extension of your creativity is to learn.

“Unfortunately, when anything new comes on board, you have to learn or get left behind,” he says.

Many industry professionals say they have already experimented with incorporating AI into their creative process; for example, Ihsan says he tries to use AI to generate specific architectural renders.

Meanwhile, Assoc Prof Dr Roslina Ismail, who is a visual artist and a senior lecturer at Universiti Malaya’s Faculty of Creative Arts, says she sometimes uploads pictures of her oil paintings into an AI programme for composition critiques.

“It’s like I have a sparring partner to discuss with so it helps me refine my ideas and look at different perspectives,” she says.

Roslina says humans have inherent creativity, which she describes as the ‘spring water that flows from within’. — Photos provided

Creatives have also tried using AI for more practical matters; independent musician Azmyl Yunor says he uses AI to create content for social media related to his songs to help extend the platforms of his artistic expression and practice – something he calls “a necessary evil like driving in Kuala Lumpur”.

But, he says, this frees up more time for him to focus on his actual musical and creative pursuits.

Natural spring water vs man-made pool

While Ihsan warns about the dangers of unregulated AI, he says if used responsibly, AI can be a powerful disruptive collaborator.

“It can accelerate workflows, generate iterations, and challenge how we define originality.

“In skilled hands, it expands creative boundaries in ways previously unimaginable. We are seeing new architectural languages emerge from data-driven design,” says Ihsan.

Both Ihsan and Roslina, who is also known as Lyne Ismail, say they do not see current AI technologies as a threat because history is full of the introduction of new, disruptive technologies, followed by a period of adaptation and evolution within existing industries.

“The invention of photography stripped painting of its monopoly over realistic representation.

“With the pressure to do something photography couldn’t, painting moved towards abstraction and experimentation, which gave rise to Modernism,” says Ihsan.

Roslina says that at the time, the invention of photography forced artists to ask themselves, “What makes our work irreplaceable?”

That’s the same question AI forces us to confront now, she adds.

For the visual artist, the answer lies in what AI cannot replicate – for now – which is the conscious intention behind human creativity.

Meanwhile, Roslina quotes the 13th-century poet Rumi on the two types of intelligences: acquired knowledge and inherent creativity, which she describes as the “spring water that flows from within”.

“AI tries to emulate this spring water, but it’s just a man-made pool.

“The glaring difference between AI and human art is intention. That conscious decision you make not from data but from instinct,” she says.

She points to Chinese AI company DeepSeek, whose founder Liang Wenfeng has reportedly said he prefers to hire humanities graduates onto their team.

“Tech companies hire humanities graduates to ‘humanise’ AI because they know it lacks what we have – that inner fountain. But you can’t pour a spring into a machine,” Roslina says.

Azmyl also mentions creative consciousness, saying that artists often repurpose technology for their own uses that are in line with their artistic intentions.

“Mine is rooted in cultural resistance, so I will use AI to further my intentions,” he says.

Ultimately, he has an even simpler answer to the question of what makes humans irreplaceable: We can make beautiful mistakes.

Or, as painter Bob Ross once said, “There are no mistakes, just happy accidents.”