About Lynn Cole


Hi, I’m Lynn Cole. I’m an experimental artist and musician that focuses on bleeding edge technologies. I’m an interdisciplinary process artist that actively practices post-aesthetic dadaism. When I was younger, I first appeared in the Seattle art scene in the late 1990s, after mysteriously appearing in the city. 

Even I am not clear on how it happened, but since I was there, and there was a music renaissance going on, I decided to stay for a minute and take part in the local art scene. At one point, I had some notoriety for my stunts and naked poetry. I doubt anyone remembers it.

Today, I develop visual art and music using a variety of tools both conventional and AI based. I’m trying to prove the blueprint for how AI works in the creative process, and how artists can take advantage of neural bending theory to create new and more interesting work. 

My professional background is in illustration, web design, computer science, digital art, and animation.I am by no means a serious person, but I am serious about art, what I think it means to everyone, and its importance. 

I believe in art. I believe in the future, I believe in change.

I believe in Dada, so that means that I believe in nothing.

But everything is some kind of nothing, which is why I believe that nothing is fine.

If you’re here to hate read my bio, because you disagree with my stated ethical stances, hate me or my art, and you’re just here because you’re an incredibly resourceful troll… welcome. Just remember that any engagement with me at all is acceptance of my dadaist principles, and once aware of this fact, you are engaged in Dadaism.

Are you sure you’re ready? Let’s begin.


My story starts earnestly. I was born in New York City. But, when I was very young, I was kidnapped by a marauding group of telephone book salesmen. A story that was very common in the early 1980s. It was all over the papers, but they never found me. You see, when the heat came down, the phone book salesmen offloaded me to a group of drug smuggling panda jugglers. The hardest part was finding pandas small enough to teach a child to juggle them, but, I suppose that’s a story for another day.

In any case, Pedro the Panda Juggler had taken me in as his daughter, and I had felt at home for several months, when the FBI seized the drug smuggling panda juggler’s hideout, and arrested everyone, except for me. That was because I was smart, and found a chicken crate under the stage. 

The Accident

In 2009, my art career was temporarily cut short when I was in a motorcycle accident in Kansas City. My hands and wrists were both crushed by the impact of a bike malfunction in mid-speed traffic, and I lost my ability to draw without pain.

Both of my hands had to be reconstructed, but over the nine months it took to heal, I had lost some movement, as well as a lifetime of muscle memory I had built up. I no longer knew if I was left or right-handed. It was difficult; getting back to a point where I could create anything I was happy with took years. 

With my new physical limitations, it became that more important to get good with a mouse. This reality guided my decisions to embrace 3D, game design, and various types of 2D animation – all of which I’ve been doing ever since.

I don’t think I’ll ever be the kind of artist I was before the accident, but I don’t think I want to be.


Something fascinating happened when Chirp came out. In case you don’t know what that is, Chirp is Suno, and AI oriented around making musical compositions. I started playing with it within weeks of the announcement. Initially I used it to make songs with such titles, “Let’s do drugs and steal car,” “the color of my farts,” and so on. 

But around 50 full length songs in, I started using it to perform some deeply personal stuff. And the next thing you know, I’m putting effort into song writing. Playing around with the structure and texture of words.

Around the same time, I also figured out that you can chord hack it… sort of, in order to maintain tighter compositions and more balanced music.

And then, I’m not quite sure when it happened either, but I figured out that I could feed the machine all kinds of unexpected inputs, malformed text, broken context windows, and more. So gradually, the experimental music I was using the platform for became more serious, and I became a lot better at not only using it, but also writing for it. 

Then I started getting into production setups, I got Reaper and Ableton, and Ace, and RIPX. And a really nice mic. At the time of this writing, I’m at five albums in, with a sixth quick one on the way this weekend. My use of ai to make music has expanded beyond Suno and Udio at this point, and I’m making music with a keyboard, Stable Audio, and mouth sounds. Or, er, I will be. Very soon. I’m still trying to discover pieces of the process.

A lot of the things I’m trying to do musically are so new, that nobody’s even done them before, so it’s not like you can pick up a Youtube tutorial and go. There’s still stuff that needs to be figured out, but results so far have been encouraging. 

If you would like to watch my entire musical journey unfold, check out my Soundcloud. I’ve posted pretty much everything there. And you can watch certain songs appear, disappear, evolve. You can see the different eras in my songwriting so far, and a whole slew of instrumentals. It’s a good time. Also, if you want to see the crazy art videos I make that go along with the music, check out the LynnColeMusic channel, for all the fun.

Visual Arts

Typically, I specialize in anamorphic collage, especially since Photoshop introduced Generative Fill, which I believe is a game-changer for production artists worldwide. At the time of writing this, my focus is once again on fine art, art literacy, and advocating for technology in art, including machine learning and AI-based tools. I see these tools as absolutely essential in breaking up the creative monopoly corporations have held over artistic expression for my entire adult life.

I also work with a variety of 3D tools, including Blender, Unity, Reallusion's suite of 2D and 3D tools, such as iClone, Character Creator, and Cartoon Animator. I'm still heavily involved in motion capture work, concentrating on talking avatars and game environments.

My creative process continually evolves, adapting to new tools, techniques, and mediums. By delving into the collective human unconscious of latent space, I blend generative synthetic art with 3D, animation, or XR to create intriguing and visually compelling pieces.

Into the Dream

We're at an inflection point where technology is unlocking endless possibilities for human expression through art. Accessibility, transparent research, and a progressive egalitarian mindset are crucial in harnessing this potential.

That's why it's more important than ever to push back against bullies, bigots, fascists, process purists, and luddites. These forces have always been present in the artistic world, but their behavior and ongoing campaigns of anti-human hate speech, bullying, and gatekeeping can no longer be tolerated or allowed to exist unchallenged. 

There is a limit to this sort of fuckery, and we are well past it.

We are entering a future of dreams that artists and art philosophers could only have dreamed of even a decade ago. And it's going to empower everyone.

That's why they're scared.

Unfortunately for them, creativity is a human right, and it will be realized, as we all begin to make art... by any means necessary.

I love you all.