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 Garden of Forking Paths and Electric Dreams are intriguing projects. Can you share more about the visual styles and themes of each? What makes these works particularly special to you, and how do they reflect your artistic vision?
It all started as an experiment while I was exploring Stable Diffusion. I became fascinated with the animations created by that AI and began making small animated pieces based on my interpretations of favorite books. It was incredibly inspiring, and I felt driven to push further with it. These two works are especially important to me because I was able to bring to life the impressions I had from the books of my favorite authors – Jorge Luis Borges, whom I discovered during my student years, and Philip K. Dick, whom I read much later. I believe this animation technique really captures the essence of parallel universes, which is a central theme in both of their works.
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 Diffusion 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.
Regarding the controversies surrounding AI in the art world, how do you personally navigate these debates? Do you see any ethical challenges when using AI in your creative process?
For me, AI is quite optimistic. I see it as a new tool with immense possibilities. However, there’s undeniably an ethical issue when it comes to copyright. AI developers are using data from various artists’ works without their permission, compensation, or even notifying the original creators. This definitely needs regulation, and I hope that laws addressing this will be implemented soon. As for artists using AI in their work, I don’t think the problem lies in AI itself. Artists have always been influenced by others’ work. We absorb countless visual impressions over time, which unconsciously layer in our minds. During the creative process, these layers blend together, resulting in something new and interesting. It’s the artist’s responsibility to decide how unique they want their work to be or how much they want to resemble someone else’s style. AI is just another tool—artists could still create similar works without AI and be satisfied with the result.
Creative Process
Can you walk us through your typical creative process when starting a new project? How do you move from concept to final execution?
As I mentioned before, it’s a process that’s quite similar to how developers implement AI. There’s a lot of material stored in my mind, and after reading a brief, all of that information collides and brings something new to life. These influences can come from visual art, music, architecture, literature, and of course nature. Once the idea sparks, I move on to execution, which is also a very creative and engaging phase for me. Different techniques and processes can often lead to a result that’s very different from the original idea, which makes the entire journey exciting and unpredictable.
When working with AI tools, how do you integrate them into your creative workflow? Do you use AI to enhance existing ideas, or does it help you generate new concepts from scratch?
It really depends on the project, and sometimes it can take a while to get the result you want, rather than what the AI suggests based on your input. This is especially true in animation, where you’ve already established the style and need to focus on things like camera movement and the animation itself. As a director, I can say it’s not always easy to manage your “AI worker,” so to speak! There are times when it’s a bit challenging to get the AI to align with your vision, but that’s part of the process.
