Void Study #2
Video, 2026 · Unique
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About the artwork
Void Study #2 is part of my Void Studies series. In this piece, we see a woman standing in a misty forest, holding an enormous flesh-like flower above her head. The form pulsates, breathes, and feels alive. The woman begins crawling into it, falling into it by choice, and is gradually consumed. Then the form reveals itself. The flesh structure becomes a portal and expands, exposing its cosmic nature. The piece is a kind of ritualistic acceptance of the void. The woman enters it knowingly, accepting something maternal, cosmic, and overwhelming. This fleshy void receives her, and what ultimately takes her is luminous, eternal, frightening, but also incredibly beautiful.
Void Studies is a series of short video works exploring the relationship between the woman and a recurring dark presence across different situations. The void is not something to be afraid of. It is a companion to the body, which meets it with playful curiosity, sometimes simply stepping into it.
Mindeye
Audio explanation
Listen to Mindeye discuss this work.
Veronika Pell is a multidisciplinary artist who works with generative AI under the name Mindeye, making video art with a strong emphasis on sound, digital image series, and short films, from a position rooted in cinema. She is based in Helsinki, originally from Uzbekistan, and trained in film direction in Moscow before moving into contemporary art and AI-based practice.
Her work operates in the register of dark fairytale with playfulness, absurdity, and theatrical excess. It often centres female figures and treats transformation as a continuous condition. Forms and characters shapeshift, and whole worlds are captured at the moment of both birth and collapse. Some pieces are narrative, others meditative, some closer to horror or surrealism.
She calls her process "growing imagery": a recursive practice in which works feed into each other across extended cycles, and the practice begins to behave like a living system.
Mindeye was named to Leonardo.Ai's Top 50 Women in AI Art (2025) and Top 50 Women in AI Filmmaking (2026), and was profiled in Forbes Australia. Her short film "How to Poison Art" won second place in the Arts & Culture category at the Korean International AI Film Festival and was shortlisted for Runway's Gen:48 and AI Academy Awards. Her work has been shown at VIFF, AI Film Fest Amsterdam, and the Sotheby's Institute of Art, among others.