🍤  Letta Shtohryn


In an increased reliance on automation, humans designate the most routine tasks to the machines. Even those who are hired to perform a spiritual ritual rely on a robot to carry out the most repetitive assignment of drawing sacred patterns with a smoking object within and around a building.The patterns were developed by humans for the mechanised routine tasks of housecleaning; the machines performed them often enough to embrace the patterns as their spiritual symbols.
When robots started learning the rituals of humans, they would pull the information about a specific type of ceremony from the internet. Being confused by the multitude of conflicting beliefs, the machine would perform a random selection of rites building a data set compiled of the cross-section of the most viewed spiritual practices. The machines will then culturally appropriate all things human while indirectly employ global spiritual content creators to perform in the rituals of the robots.

Floor cleaning robot,
4” mobile phone; Single channel video 9 min; 
mobile speaker; incense sticks; silver cloak; broom.
Performance 15 min

1/08 - 14/08 2019 Daily Bread (duo show)
@Gabrial Caruana Foundation, The Mill, (MT)


Human Object (2019)

Human Object explores what differentiates humans from Artificial Intelligence at this point in AI development. Recently, some Alexa owners have become concerned with her ability to mimic active listening. What other things can AI do that we thought to be ultimately human? Must we continually reconfigure our concept of what is "human" as technology mimics human behaviour increasingly (and unnervingly) accurately? Can an AI hesitate? Can an AI change its mind? In this work I am looking at (post)soviet gym culture, Instagram fitness tutorials and YouTube trainers with perfect bodies, perfect postures and perfect performances. The humans so perfect they are almost non-human, embodying authoritarian militaristic training and discipline in the pursuit of robotic perfection to become an übermensch – a hyperhuman.

Vinyl shets 3.60 m x 2.20 m
Matress foam 1.40 x 1.60 x 30 cm
HD video 02:51

3/05 - 16/06 2019 Object, Objetc, Objecc (group show)
@Spazju Kreattiv (MT)

Crypto H(e)aven (2019)

On 9th December 2018 the CEO of cryptocurrency exchange Quadriga CX dies. Gerald Cotten personally held the passwords to customers’ digital wallets, thereby rendering $190 million lost or missing. Speculation continues about the truth behind his sudden death in India.

Death has seemingly been unaccounted for in the cryptocurrency world. Here, the corporeal event of bodily death suddenly clashed with – and superseded – the immateriality and mathematical logic of the crypto world. The crypto-realm functions on a quasi-religious premise of belief in digital money – money that only exists when enough people assert and legitimates its realness via the blockchain.

This work looks at crypto heaven and crypto haven as places where deceased super rich CEOs go. Leaving a space for speculation on whether Cotten can be found in the cloud of afterlife or in a safe haven with a new identity, the work looks into the similarities between our vision of heaven and places that call themselves crypto havens.

Scaffolding 180 cm x 5 pieces,
four UV printed synthetic curtains 180 x 180 cm,
silver fabtic,
chocolate (consumable) bitcoin, Video : sinlge channel, 4K, 12 min

3/05 - 16/06 2019 Object, Objetc, Objecc (group show)
@Spazju Kreattiv (MT)

Google Receipts (2019)

This work materialises online browser data via a receipt printer, finding an analogy in consumer transactions. Our browsing data is increasingly being transformed into a commodity that is bought and sold by big businesses, instead of its original use as a record of private online activity for our own use. Our browser history is where the mind is manifested. These same inscribed manifestations are also valuable consumer data, traded for marketing and surveillance purposes. Google receipts materialises digital non privacy by printing out each line of the artist’s browser history every day for the duration of the exhibition to be viewed by anonymous strangers – free of charge.

Receipt printer / 
Raspberry PI 3 / Thermal paper 30 cm x 15 cm x 150 cm  (50) meters

3/05 - 16/06 2019 Object, Objetc, Objecc (group show)
@Spazju Kreattiv (MT)


A broken screen makes visible this mediative device that lies between the machine’s output and our eyes; its failure to act as a transparent window renders this role visible, making us aware of our cognitive immersion into a digital realm. Similarly, damaged glasses remind us that there is a (now flawed) intermediary between us and the visual world. Eye floaters are reminders that our eyes themselves are a sometimes flawed medium through which we experience the world. No visual perception is received in a pure form, we must utilise a number of filters to have a visual experience. This work looks at imperfections in visual transmissions and the subsequently increased visibility of the mediating technology.

4.5 " mobile with a cracked screen,
7" tablet with a cracked screen, USB cables, 3m x 2 m projection,
UV printed chiffon fabrics 2.40 m x 160 cm  Metal polls 1.6 m
HD video 2:15 min single channel

3.20 x 2.60m x 10 cm 

3/05 - 16/06 2019 Object, Objetc, Objecc (group show)
@Spazju Kreattiv (MT)

Photo : Elisa von Brockdorff


Cognitive Services (2019)

This work looks into aspects of facial recognition, of machine vision vs lens vision as different ways of seeing. Digital images reproduced by machines are translated into visuals only for our human benefit: in a world run by machines, this visual imagery would be inscribed in binary code or text. So what does a computer see?
In this work, images of the artist had been recognised by an online Microsoft demo and output by another demo into the text to be translated again via another algorithm into an image.  Other two images were subjected to a Microsoft azure image description and emotion detection demo. The uncontrollably and partially trained aspect of the algorithmic online demo is of interest to this work, as it has revealed its inbuilt bias.

Although a successful recognition rate can be quite high when a reference image is provided to the machine, when the same system is tasked with face detection of an image and to describe that image without human intervention, the software performs the task in a variety of flawed ways. When Amazon’s Rekognition software was
tasked to identify women, it misidentified the gender of white women 29% of the time and darker skinned women 31% of the time. If machines learn from databases that have inbuilt racial and gender stereotypical characteristics then these biases will be inherited by the machines. The stakes become higher with the gradual implementation of these biased image recognition technologies on a governmental level.

Aluminium print 40 x 50 cm (unique)
Aluminium print 30 x 20 cm (unique)
Aluminium print 20 x 15 cm (unique)

3/05 - 16/06 2019 Object, Objetc, Objecc (group show)
@Spazju Kreattiv (MT)

Algorithmic Oracle (2019) 

Nobody knows what the others are seeing. Algorithmically created filter bubbles split our online reality into a multiverse of experiences. Our screens provide us with a customised alternative reality, shaping our ways of perceiving the world offline. I don't see the same content as you, but we act as if we see the same thing. Where did the reality split happen? If one looks at our customised perceptions, it seems not unlike an open-world game replayed without saving. It is a series of clicks that separate our multiverse.
Algorithmic Oracle attempts to grasp multiple realities at the same time. The clicks are being translated IRL to causal actions that create tangible outcomes. In this work, I am asking a game algorithm to create a series of what-if scenarios of an event of a house fire, letting the SIMS 3 game algorithm decide how a real-life event could have unfolded. SIMS3 used here as a way to employ a "higher" algorithmic power, an oracle machine. All the players and the set in the video are crafted to fit their real characteristics and looks. The game starts every scenario with three steps controlled by the player. After the action is completed, the game runs scenarios based on its probability algorithm without interference resulting in a multitude of outcomes.

9 single channel videos 8 min 12 sec
or a single channel composite 8 min 12 sec

25/04-30/04 Dream Catcher ( group show)
by Phillips x Daata at The Box @ Phillips, New York, USA

@VideoVortexXII by Institute of Networked Cultures @SpazjuKreattiv, Valletta (MT)

Future memory - Dataforming (2018)

#textile #memory #data #future #nonprivacy


An Area of Some Importance (2019)

1957: the year my family moved from a Siberian labour camp to populate the “virgin territories” in Kazakhstan. 1957: the year Sputnik was launched, starting the space race. The project looks into family nomadism, beginnings of the Space race and soviet Anthropocenic interventions in 1960s Siberia and Kazakhstan using Google maps, Yandex maps and archival family photographs.


Neighbouring Sites / Lis (in Ukr. timber and forest ) /
Nature as barbed wire / People were here. Anthropo(s)cenic sites as comfort /
Baykonur1, Baikonyr2, Baykonyr3  - colonial mistranslation of distraction sites.


Another explores a metaphorical experience of moving from a home planet occupied by patriarchal forces. It attempts to understand from the reappropriated footage the thoughts and feelings the first women in space Valentina Tereshkova must have had if she were to become a first person on the moon. The footage from moon ladings appropriates the achievement to Valentina, imagining her frolicking around the moon in a  space suit. In this alternative reality, they make enough space suits for women.The work is also a personal response to my home country's ( Ukraine) public spaces being increasingly invaded by patriarchal forces ( whether homegrown Nazis or outsourced separatists ) with the war also attaching women's rights as well as territory. The men and few women fight each other, the women flee to create lives for themselves in new utopistic worlds.
The work is also exploring a scenario of a collaborative nature. In this alternative universe following an urgency to save humanity from sinking into inequality and test a new way of non-patriarchal governance, a woman cosmonaut is being sent to be the one who starts a future moon colony.  The colony is humanity's attempt to test a new model of society and strive for utopia.

Commissioned by Modern Music Days, Malta

First screened at Teatru Manoel, Valletta
Response to a score by Karl Fiorini “City of lost chances”

Shown at :

Rhythms of vision at Teatru Manoel, Valletta, MT (Feb 2017)

Spazju Kreattiv, Valletta, MT (Sep 2018)

MuZA program, Zebbug, MT (Nov 2018)

Video : 5.48 m

Sown at :

Rhythms of vision at Teatru Manoel,letta, MT (Feb 2017)

Spazju Kreattiv,

MuZA, Valletta, MT (Nov 2018)

The Tension of things unsaid (2018)

On meatal state research through imagery, Metoo movement and proximity to violence.
(Full project here)

At Listastofan, Reykjavik,IC
Photography, Video, Text, Rock, String.

Single channel video or

Christmas at my parents' house (2017 )

on fragile balance of family relationships
at Roundabout.LX ( Lisbon, PT )

(string, leveler tool, street sign, skateboard,
mobile phone, cobblestones)

More Info here <<-

LisbonLQ1.jpeg (2017)

LisbonLQ1.jpeg is an enquiry into heritage artifice. It looks into an intertwined existence of digital and physical realms and explores fake heritage as an object that consists of visibly low-quality imagery printed onto and projected to a quality material object.
The project is inspired by encounters of pixelated digital images of Lisbon original tiles painted as wallpaper and pasted on new IKEA tiles in some location in Lisbon. Behind the facade with fake heritage objects, there's a compilation of decay, precariously balanced structures and temporary architectural arrangement, all to support the image of a facade which then becomes only an image of itself reposted online.


2079 Harbour Sounds.pdf (2017)

Part of Time's Up exhibition. "Archived Futures Harvest " - an archive,  a miscellanea of documents and objects that have supposedly originated from the near or far future. Part speculative archive part laboratory.

The work consists of an archived log book from the year 2079. As evidence of a transformed island-society, it gives clues on the general state of society and the island, when subtly focuses on diminished crops and their lucrative trade. It's a detective story without a clear crime scene.

.PDF file here <<-
and >> here

(log books sheets, tree jars of coffee samples)

Continental Thread. An unfinished project (2017 - )

The performance/installation was a poetic attempt to link together two drifting elements. An inevitable force of separation connected by a feeble thread without any ability to actually pull the drifting entities together rather measure the width of their separateness. The exchange of thread not unlike the exchange of messages over distance, a separation inevitably is complete, as one can only perform it over a limited amount of time when the result is a history of exchanges and no tangible alteration of the drift. Drift happens whether we resist it or not.
at Thingvellir National Park


Flytrap considers historical burdens. ( 2017 )

A speculation on what drives Ukrainian far right groups today. It is also a reaction to the nationalism-provoking bait in a form of historical weight of disputed memories.

Gulag Video footage on loop 7 min, tablet,
duct tape, birch wood, LED,
domino sets, newspaper cut out.


Now No Longer - Now Not Yet (2016/2019)

The work looks at geological phenomena for methods of presence, at earth time for perspective, at alchemical elements for experiences of mental transformation, at chemistry of rocks for the creation of memory and at tectonic growth for habits of letting go.

4 channel/ 1 channel video installation 9:01 min
sound: Andrew Pace (2019)

Shown at :
Spazju Kreattiv, Valletta, MT
SIM Gallery Reykjavik, IC Online screening

Camera Obscura (2014 )

A shelter of an opposite space.  A voyeuristic public experience
at Notte Bianca, 2014, Valletta

(plywood, paint, lenses, audio)
240 cm x 240 cm x 480 cm

with Nicolas Borchers and Berak Eyiceoglu