ABOUT

Hey there! My name is Veronika Gryshchuk. I combine visual art with AI, exploring the intersections of technology, ecology, and design. My practice dives into creating audiovisual experiences that question human and more-than-human perception, training small AI datasets, and pushing the boundaries between digital and real worlds. Originally from Ukraine and now based in Spain, my multicultural background shapes my approach, using design as a way to connect and communicate. With an emphasis on functionality, playfulness, and maker culture, I aim to challenge norms and foster connections between technolog, humans, and nature.

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ABOUT

Hey! I am Veronika Gryshchuk.
I am a junior graphic designer. I attend the design university ELISAVA. My goal isn't just to make something beautiful but to give it function and, therefore: meaning. As a visual communicator, I strive to learn as much as possible about the profession and its creative processes.
Whether we like it or not, we judge a book by its cover. It's a designer's responsibility to make the book represent its' contents in an engaging and coherent way.
I believe that graphic designers have the power to influence the world. If we navigate this profession in the right way, through circumventing the pre-imposed systems of society, we have the potential to provoke change.

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Computational Dreaming

AI exists in the space between dystopian sci-fi visions and everyday functionalities, embodying a dynamic, ever-evolving essence.

The video showcases an AI-made sound with the audio-reactive line and its graph displacement. GAN was trained on the sounds originally gathered with plants midi signals. In the video piece machine sound entangles with plant signals, opening up with an electric heart bit that creates a new reality of a dream.

This work explores AI as a more-than-human force, a new unfolding of world vision that connects with nature in ways we are only beginning to comprehend.

AI sound with audioreactive visuals

Between transitions

Artificial Intelligence is in the constant process of becoming, with no determined place or purpose. If AI is far from human intelligence can it be treated as another type of intelligence, finding its ways in monitoring data and giving away the information? When training on images and datasets, who is doing the seeing, is it even a seeing, what is happening behind that? Could we teach machines to see better? And by playing with these narratives and technologies of machine vision could we ourselves learn to see better?

When we talk about AI we have a certain vision towards it, our lack of terminology to describe its aesthetic and not quite understanding how it functions put limitations on us. By creating practices we might redirect our attention towards the strange, the construction of possibilities and new language.

To delve into these questions I trained an RNN model on a certain dataset to discover how the model will interpret given information and how it could be envisioned on a human level. RNN is a type of neural network that runs on a particular set of text data with a next-word prediction. What happens is that since the data is usually not in a large amount and never can be learned perfectly, it becomes creative in some way, giving very random word sequences.

The model is trained on Jorge Luis Borges’ book “The Book of Imaginary Beings”. It is a catalogue of cultural and folklore gathering of different fantastical living forms which is never complete and should be read as “shifting patterns of kaleidoscope”. Each of them is a fruit of human imagination that reflects human nature and surpasses its agency.

RNN data training with ASCII art

When the model was trained I gave it one prompt:
Describe a creature of the 21st century

It gave me following results with second one being more reliance on trained data:

With this inofrmation i asked ChatGPT to create me an imaginary being in ASCII art, and I got the following results:

Non-Human Frequency

The Non-Human Frequency project stands at the intersection of critical design, sound design, and bioacoustic technology. It aims to shift the paradigm from a human-centric perspective and foster a profound, empathetic connection with the plant world, emphasizing the fundamental value of non-human life forms.

The core of the project is
a device that captures the signals of plants and translates them into distinctive soundscapes. These sounds serve as a platform for humans to establish a connection with plants and change the perception of something that surrounds us everywhere and
every day.

Biodata sonification

Abracadabra

Queer communities have been able to prosper online but they're difficult to encounter in real-life. So we thought to ourselves, can we bring these digital communities to a physical space? The editorial project aims to give visibility to the diverse experiences of queer individuals based in Barcelona, Spain, through series of featured articles, personal essays and creative expressions.

w/: Silvia Masclans - Alba Cabiscol - Flavia Somarriba - Sara Miravante - Veronika Gryshchuk - Alexandra Spassov - Jaume Alonso-Cuevillas - Alejandro Spiro Lasala

Magazine on queer community

Калюжа

"The body is your map" is an experimental project. The work was done by scanning different palms of people, tearing the papers apart, and sewing them back.
The idea behind this project was to represent each human palm as a map of their souls, cultures, and hometowns.

Калюжа from Ukranain means puddle.

w/: Lucas Vazquez, Raquel Bonet, Jaume Alonso-Cuevillas Ferrer and Veronika Gryshchuk

Experimental project