Untitled (i23-3441), 1992, belongs to the Painting Machine era of AARON. By the early 1990s,
AARON was capable of producing increasingly sophisticated figurative compositions in full
colour, marking a significant advancement in Cohen’s ongoing exploration of the relationship
between artist and machine. In this work, the image itself is generated by AARON, whilst the
colour has been carefully applied by Cohen by hand, demonstrating the collaborative exchange
that remained central to his practice.

In Untitled (i23-3441), a solitary male figure is depicted from the waist upwards, occupying the
right of the composition with an introspective stillness. His arms fold across his chest: one hand
opens outward with fingers splayed expansively, whilst the other rests gently against the centre
of his body. Bearded and contemplative, the figure lowers his gaze toward the lower edge of the
canvas, his posture suggesting inward reflection rather than direct engagement with the viewer.
The psychological intensity of the image recalls the tradition of the solitary artist portrait,
particularly the emotionally charged self-portraits of Vincent van Gogh, in which gesture and
pose become vehicles for interior experience.

The background, however, moves beyond historical reference into a distinctly synthetic and
immersive pictorial space. Set against a vivid green ground animated by canopies of blue, pink,
and purple, the composition surrounds the figure with sinuous branching forms that appear to
echo or externalise his internal state. Rather than functioning merely as backdrop, these abstract
vegetal structures create a psychological environment, binding figure and setting into a unified
emotional field. Visually reminiscent of the algorithm developed during Cohen’s Territorial
Maps period, the background here arguably plays a greater role than in the portrait figurative
compositions, with the figure taking up less space in proportion to the canvas surface area. Whilst
portrait designs largely dominate the Painting Machine outputs, Untitled (i23-3441) is notable for
its landscape arrangement.

The work exemplifies Cohen’s interest in how AARON could generate not only recognisable
forms, but also compositions capable of conveying mood, atmosphere, and emotional resonance
through the interaction of colour, line, and spatial rhythm.