Mila Gromysz
- Anna Lilli Garai
- Jun 26
- 2 min read
Mila Gromysz is a Warsaw-based artist working with photography, programming, drawing, and liquid light show techniques. Her practice focuses on perception, undefined forms, and the balance between control and randomness. With a background in computer science, visual communication, and gender studies, she brings a structured yet intuitive approach to her work. Calm, quiet, and precise, her pieces reflect a deliberate resistance to urgency and overexplanation. She creates images that don’t aim to convince but invite attention through presence and clarity.
Q: You describe your work as quiet and slow. Where does that pace come from?
A: Out of defiance against what a good job is supposed to be. We live in late capitalism, raised to believe that without pressure and coercion, there are no results—just as art is expected to be born out of pain, emotion, and stress. To me, that’s nonsense. Calmness, self-confidence, trust in oneself, and psychological balance lead to the best outcomes. It doesn’t have to be loud or controversial to achieve an outstanding level.
Q: You mention that your works don’t try to speak directly, they just “exist.” What does that presence mean to you?
A: What I create stems from how I understand and see the world, what I experience internally, but also where my aesthetic journey leads me. I don’t want my art to persuade anyone or point them in a direction—I want to show and open aesthetic perception to new images.
Q: Programming plays a structural role in your work. What do you find in code that you don’t get elsewhere?
A: Programming allows for the creation of virtually anything while also guiding us toward the fundamentals of a good project—laying out a solid work plan. In art, this approach is, for me, the right path to understanding what creation truly is and what kind of artist I want to be.
Q: You’re drawn to clear but hard-to-define shapes. How do you know when something is finished?
A: Eluding definition is one of my favorite qualities in life, in people, in my own existence, and in art. To be honest, I never think about the final result—it simply arrives, and I just know.
Q: You avoid over-explaining or over-conceptualizing. What kind of feeling do you hope your work leaves behind?
A: Most of all, I would like it to leave the viewer with a feeling of insatiability—so that, in a way, it can never truly leave them.
Q: Light, distortion, and chance are all part of your process. Is there a moment when you consciously let randomness take over?
A: Randomness really only plays a role in the initial stage, when I analogously mix water with oil to create material for later work. After that, everything that happens is meticulously processed and entirely controlled.
