can... they can download a programme, or they can create something through AI that expresses themselves. I think that's a beautiful thing. But the problem is, is that when you do it for a living..." at’s where the economic reality becomes stark, when she describes the competitive pressure; "Someone will come to me and say, 'I need a commission done.' And I will say, 'Okay, well, that's going to take ve days, and this is what it costs.' You know, there's going to be someone down the street who's going to say, 'Well, I can do it in an hour, and I'll do it for half the price.' And that's because AI is doing it for them." Her concern extends throughout her creative community: "I've got friends in London who are graphic designers who are terri ed of AI because there is a real chance that it could take over such a large portion of our business." e fear isn't just personal but collective, representing a fundamental challenge to creative livelihoods. What makes her perspective particularly poignant is her recognition of what might be lost: " e value placed on getting art from someone who can actually draw it, who sits there and actually paints it and uses the colours and uses the imagination is waning... there's an unfortunate chance that that's just going to become less and less appealing because people are creating what sometimes looks like amazing work, but they're doing it in a matter of 20 minutes on AI." e impact a ects both sides of her creative practice.
"Unfortunately, in both sides of my business," she notes, referring to both her visual art and acting careers, "AI is quite a terrifying concept, really." Expanding Creative Horizons Despite these challenges, Danielle remains optimistic about expanding her artistic practice into new territories. Her pop art prints have already attracted attention for their potential in broader applications. "I used to go to a lot of markets, and a lot of people would say to me, 'You need to make this into wallpaper or fabric.' " She's begun experimenting with these possibilities: "Actually, last year, I had some fabric made up and some larger sort of, well, I think you can say it was more wrapping paper than wallpaper, but it did look great. And it's de nitely something that I would be up for doing, without a doubt, because especially the owers would be brilliant." e transition from individual prints to larger decorative applications represents a natural evolution that could bring her work into homes and commercial spaces in entirely new ways. Shifting Priorities From Commerce to Community Perhaps most tellingly, Danielle's priorities have evolved beyond pure commercial success to something more - artistic visibility and community engagement. "I'm at a point in my career as an artist where I want the priority to shi towards my work being seen, not just paid for. So that is actually the most important thing at the moment.” is evolution represents artistic perspective, one that recognises the value of exposure, connection,
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