Editors Note:
Hasmik‘s journey from traditional art to Motion Design is a compelling blend of the old and new. Trained in hand-drawn techniques at the Armenian Academy of Fine Arts, she has transitioned to digital and Al-driven creativity.
In this interview, we explore how Hasmik’s early experiences and the challenges of the 1990s shaped her work. She shares insight into her recents projects. The Garden of Forking Paths and Electric Dreams, and discusses how Al has transformed her artistic process.
The Genesis of an Idea
How did your traditional art education influence your career as a Motion Designer?
My education at the Armenian Academy of Fine Arts was essential for developing a solid artistic foundation. During my studies, everything was done by hand; we had no access to computers. That experience gave me a deep understanding of traditional design, something that many designers today do not have. I am very grateful to the mentors I had, who taught me the fundamentals. This knowledge gave me an advantage in the transition to the digital world, as it allowed me to combine technical skills with traditional artistic training.
What did the transition from hand-drawn designs to the digital world mean for you?
It was an exciting change. For someone who started out drawing by hand, the digital world opened up a range of new possibilities. I remember discovering designers like Neville Brody, David Carson and Stefan Sagmeister on the internet, which was a revelation. Not only because it marked a new technological era, but also because, after the fall of the Soviet Union, Armenia had access to 20th century Western art. It was a time of great discoveries and creative opportunities.
How did Armenia’s economic and technological challenges in the 1990s affect your professional development?
The 1990s were a tough decade for Armenia. The economy was struggling, partly because of the Karabakh conflict, which led to a blockade and an energy crisis. We only had two hours of electricity a day, so access to technology and the internet was a luxury. Despite these difficulties, Armenia’s computer graphics (CG) community began to grow. My experience at Triada Studio, the country’s first 3D animation studio, gave me the opportunity to be part of that growth. It was a key moment in my career.
What role do 20th century writers play in your artistic work?
Twentieth-century writers have been an important source of inspiration for me. Philip K. Dick, for example, has been a key influence on my recent projects. But I also greatly admire Jorge Luis Borges, whom I discovered during my student years. His work The Garden of Forking Paths inspired my next film, which, together with Electric Dreams, is part of the anthology Infinite Realities. In these films I explore alternative realities and bifurcating timelines, something that fascinates me both artistically and philosophically.
Infinite Realities
“Infinite Realities” is an anthology of two short films, Electric Dreams a The Garden of Forking Paths, inspired by the visionary works of Philip K.Dick and Jorge Luis Borges. Exploring the concept of alternate realities and branching timelines, these fils invite viewers to contemplate the mysteries of existence and the vastness of potential universe.
The exploration of parallel worlds is not a new concept; it has roots in philosophical musing and early literary works.
However, it was not until the 20th century that this idea gained substantial traction, particularly in science fiction and scientific discourse. In 1941, Borges introduced the notion of branching time in his renewed story “The Garden of Forking Paths,” illuminating the concept with unparalleled clarity.
Fast forward to 1977, when Philip K. Dick, in his thought-provoking speech titled “If You Find This World Bad, You Should See Some of the Others,” confronted audiences with existential questions about reality, cosmological time, and the intriguing prospect of our universe as a simulated construct.
These films emerged from a creative synergy, sparked by the discovery of cutting-edge Al technologies during my exploration of Stable Diffusion Al. This collaboration has elevated my artistic vision to new height of precision and complexity, transcending traditional methods and breathing life into the intricate worlds envisioned by these iconic authors.
The changes involved fixing minor capitalization and punctuation issues, such as properly formatting titles and ensuring consistent quotation marks.
How has artificial intelligence (AI) influenced your recent work?
The age of AI has been very inspiring, especially in the field of animation. Despite the controversies surrounding AI in the art world, for me it has opened new doors, just as digital technology did years ago. When I discovered stable broadcast AI, I was fascinated. This tool allowed me to create my first personal video art project, Electric Dreams: Echoes of Metz’s Speech, in homage to the visionary writer Philip K. Dick. AI has provided me with an artistic precision that is difficult to achieve with traditional methods alone.
How has your creative process changed with the use of AI?
My creative process has evolved a lot with AI. Collaborating with Stable Diffusion AI has allowed me to take my ideas to a level of precision and complexity that would have been difficult to achieve with traditional methods alone. AI has become another tool in my creative toolbox, while keeping alive the spirit of exploration that has always motivated me.
