Void Study #3
Video, 2026 · Unique
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About the artwork
This is Void Study #3. It’s part of my Void Studies series. This is a more mundane situation. The woman is interacting with the void in a quiet, almost domestic way. The piece is about connection. She plays with it, communicates with it, and they seem to exist in a kind of ongoing conversation. The void sits beside her in the chair, but it is also the gramophone itself, playing music and speaking to her through the device. Somehow, she has summoned this connection through the act of putting on a record and activating the device. It remains unclear whether she is making the void speak, whether the void is controlling the situation altogether. The piece is about living with the void rather than fearing it. There is no threat, no revelation, no dramatic confrontation. The void has become a daily companion, almost a roommate. It has been welcomed into the home, given a seat, and accepted as a presence within ordinary life. The work becomes a portrait of cohabitation with something other.
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.