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Gabriella Demczukغبرييلا دمشوك (@gdemczuk), Instagram profile photo
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Gabriella Demczukغبرييلا دمشوك

Artist
@gdemczuk
London | Washington, D.C. |🇺🇸🇱🇧 Storyteller @insidenatgeo Ecological Practices @alwahat.collective Associate Lecturer @rca.mediastudies @ea_rca
  • Music & Artists
  • Following 1.7K
  • Followers 9K
  • Engagement 2%
  • Avg comments 7

About Gabriella Demczukغبرييلا دمشوك

Gabriella Demczukغبرييلا دمشوك (@gdemczuk) is an Artist creator on Instagram, also filed under Music & Artists. The account has 9,028 followers and 358 published posts. Recent posts average 195 likes and 7 comments, an engagement rate of 2%.

Gabriella Demczukغبرييلا دمشوك belongs to the nano tier, the band usually drawn between 1,000 and 10,000 followers. Gabriella Demczukغبرييلا دمشوك follows 1,738 accounts, so the audience is roughly 5.2 times the size of the list followed. Gabriella Demczukغبرييلا دمشوك is set up as an Instagram business account. Flinque files Gabriella Demczukغبرييلا دمشوك under Artist, with Music & Artists as a secondary category.

The Instagram bio for Gabriella Demczukغبرييلا دمشوك runs to 16 words across 4 lines. The bio mentions @insidenatgeo, @alwahat.collective, @rca.mediastudies and @ea_rca. The latest activity Flinque has on record for Gabriella Demczukغبرييلا دمشوك dates from May 2025.

358 Posts

All 10 recent posts Flinque holds for Gabriella Demczukغبرييلا دمشوك are carousels. 358 published posts give Gabriella Demczukغبرييلا دمشوك a moderate archive on Instagram. Against the audience, that is roughly 25 followers for each post published. All 10 carry captions, averaging 144 words each. The captions are written mainly in English. Words that recur across them include through, these, which, material and cochineal.

After three years of research and collective material practice across Palestine and Mexico, a chapter of “Wild Hedges” is now on view until the end of August at SALT Beyoğlu in Istanbul, part of the exhibition “Breaking Through a Dam.” A big thank you to the amazing curatorial team
Research Studio 6: Saharian Becomings traveled to the Bahariya region of Egypt for fieldwork in the White Desert. During this time, we experimented with methods of sensing and engaging with the desert through a range of image-making and material techniques. We produced photograms using plants foraged from different sites, developing the images with photographic developer made from those same plants—including pine, mangrove, and desert grasses. The students also made pinhole cameras from everyday objects which were used to photograph the desert, later developing those images in the same plant-based solution.

RS6 is led by Gabriella Demczuk and Kamil Dalkir
Seeding Kinships Session 2 | 𝑰𝒏𝒕𝒆𝒓𝒔𝒑𝒆𝒄𝒊𝒆𝒔 𝑰𝒏𝒕𝒆𝒍𝒍𝒊𝒈𝒆𝒏𝒄𝒆
Tuesday 3 February 6-7pm CET

In the next session, we will turn to the many forms of intelligence that emerge through more-than-human collaboration, with plants as a key protagonist. From animal health-seeking strategies observed in pastoralist communities to the entangled histories of cacti and insects as symbols of invasion and resilience, living systems form a continuous reservoir of survival practices and mutual dependence. We examine how these relationships are shaped by both digital and analogue media landscapes, and how they are constrained or disrupted by past and present political, environmental, and social conditions.

Together with artist Gabriella Demczuk and ethnobiologist Emiel De Meyer, we will explore how knowledge circulates across species and forms of life, and what is gained or lost along the way. We will discuss how biological patenting forecloses alternative plant futures or how traditional medicinal wisdoms persist through online discussion forums. Rather than approaching intelligence as an exclusively human attribute, the session asks what more-than-human knowledge can teach us about collaboration, responsibility, and co-existence today.

“Seeding Kinships” is an online series of public lectures and conversations curated by as part of Free Radicals. Fortnightly on Tuesday evenings (CET) from 20 January to 31 March 2026.

More information and registration on the link in bio.

Free Radicals is a two-year research project exploring the intersections between plant biodiversity and artistic practice, co-funded by and.
Stills from a short two-channel film titled “Red Threads,” which weaves together the sabr cactus hedge and the sacred qatlab tree through the making of flags—printed and embroidered with the red of the cochineal—used traditionally in processions between sacred sites.
This past weekend, we exhibited a chapter of our ongoing project “Wild Hedges” during Open Studios at where has been residents this year. Focusing on the relationship between the sabr hedge and sacred tree, together with, we tie these two sites through the color red - red of the cochineal and red of the qatlab tree’s bark - weaving together threads of ecological mysticism, myths and rituals.

Using the cochineal dye, we create a base layer for the images to reveal themselves. Layering fabrics, we continue the ritual of tying torn fabric to the sacred tree in an act of prayer, once practiced by local villagers seeking safety and good fortune. wove cactus fibres together to create sculptural works and made beautiful paper out of these fibres, which were printed with ink, also made from the cochineal, expanding on the myths of these two beings. designed a stunning book that brings together different recipes, instructions and texts that have been shared with us throughout the three years of learning from different artisans of their use of the cactus and cochineal. A two-channel visual essay documents the flags we made with residents of Ein Qiniya, which Suha masterfully embroiders with threads dyed from the cochineal.

While working, we’ve come to realize these artistic interventions can also be acts of care and repair - collecting cochineal that is eating the cactus, pruning the pads and collecting dried fibers- help the cactus to thrive and survive, keeping alive the memories and histories of the Palestinians that once planted these cactus hedges.
For the last year, I’ve been between London and Maastricht in the Netherlands, as a resident at the Jan Van Eyck Academy. Having a studio with a staff of amazing expert artists has allowed myself and our collective Al-Wah’at to focus on material experimentation with the sabr cactus and the cochineal dye. We open our studios 24-26 October to exhibit the work we’ve been doing, a continuation of our long term project “Wild Hedges.” Come through y’all!
I’ve recently joined the Environmental Architecture program at the RCA where I will be co-teaching a studio titled “Saharian Becomings” alongside Kamil Dalkir. The course will investigate the weaponization of the Sahara’s environment by contemporary migration governance, which seeks to deter mobility throughout the region and stem migration to Europe. This shifts the responsibility of increased migrant deaths to the Saharian landscape rather than to the external and internal state actors that shape these border policies and infrastructures. Through spatial, visual and material practices, the studio will hold accountable these violations and injustices and affirm the human right to mobility. It’s a pressing and timely issue, one which we are seeing play out all over the world, especially as we grapple with the impacts of human induced climate change.
As we begin another year of Media Studies, I want to share some of the diversity of work and methods my students have made these last two years—in alphabetical/year order—investigating ecological concerns and bringing that material into the image-making process.

1-Antonio Cortes, “Sierra Nevada,” archival images, cyanotype and cochineal on wool, 2024
2-Changer Song, “One Hour,” lumen prints, cigarette leachate, 2024
3-Georgina Docherty, “The Weight of Water,” salt prints, 2024
4-Ioana Oprescu, “One Hundred Red Onions,” archival images, red onion photo developer, 2024
5-Maya Vahidi, “The Hands that Harvest,” saffron chemigram, photogram, and phytogram artist book, 2024
6-Yu Huang, “The Curse of the Bamboo Flowers,“ archival images, cyanotype on glass, 2024
7-Jennifer Brown, “Humanity’s Favorite Fruit?” Cyanotype, tomato toning, 2024
8-Boris Martic, “ Air Mapping,“ Lichen prints, 2023
9-Francesca Moseley, “Warning Weeds,” Gloucester Cathedral by William Turner, cyanotype and weed toning, 2023
10-Georgina Grantham, “London Clay,” Archival Lithographic prints on clay slabs, tunnel book, 2023
11-Jiayi Tang, “ Chromatographic Exploration,” Soil Chromatography, 2023
12-Katy Hughes, “The Peppered Moth,” Carbon soot printing, flip book, 2023
13-Olivia Baylis, “Cotton/Water/Dye,” natural dye and printing, 2023
14-Teng Wang, “The Cycle of Life,” Photograms and bread fermentation, 2023
15-Yingxin Zhang, “Metamorphisis,” British Algae by Anna Atkins, cyanotypes with collected river water, 2023
I’ve been photographing American politics for a decade. Often referred to as “political theatre,” I wanted to understand what this theatricality actually accomplishes and how photography is working within these staged and highly curated spaces. Reflecting back on the National Conventions, I pull apart the ways in which the party orchestrates a narrative of “popular will” by restricting access to its space and creating a hyper-focused narrative that distracts supporters from what is happening on the periphery of the frame or crops and excludes any challenges to its framing. These become spaces that self-legitimate authority, what I call spaces of power-making, and photography is often an agent in that power-making. Here, I think about my own role as a photographer, and the choices I make within these spaces to push back against the narrative of those in power. Especially now, when the Trump White House is pushing a revisionist narrative through imagery, it is important that we understand their blueprint and how we might work within these restricted spaces to counter such propaganda.

This is the first time I have written about what I do as a photographer, which you can read at the link in my bio. A big thank you to the Avery team for working with me through these many months of writing and editing, and to my editor and friend Ariel Zambelich who has worked with me all these years to think through my own framing and to my friend Stephen Crowley who taught me very early on to see beyond the “smoke filled rooms of Washington.”
It’s past midnight. The Democratic campaign chair walks on stage to tell party supporters it’s time to go home, it will be clear in the morning. I photograph an empty space—flags and signs discarded, barricades broken down. A familiar numbing creeps in. It’s the same scene played out eight years ago but instead of standing under a glass ceiling, I stand in front of Frederick Douglass Memorial Hall. Another symbolic stage, unrealized.

The Harris/Walz election night watch party at Howard University photographed for TIME

Gabriella Demczukغبرييلا دمشوك's engagement

Gabriella Demczukغبرييلا دمشوك's engagement rate on Instagram is 2%, between 1% and 3%, or 1 to 3 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 50 followers. An average post collects 195 likes and 7 comments, close to 28 likes for each comment.

Engagement rate

2%

Avg likes
195
Avg comments
7
Interactions : followers
1 : 50

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Frequently asked questions

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Who is Gabriella Demczukغبرييلا دمشوك?

Gabriella Demczukغبرييلا دمشوك (@gdemczuk) is an Artist creator on Instagram, also filed under Music & Artists. Gabriella Demczukغبرييلا دمشوك is set up as an Instagram business account. The Instagram bio for Gabriella Demczukغبرييلا دمشوك runs to 16 words across 4 lines.

How many followers does Gabriella Demczukغبرييلا دمشوك have?

Gabriella Demczukغبرييلا دمشوك has 9,028 followers on Instagram (9K). Gabriella Demczukغبرييلا دمشوك follows 1,738 accounts, so the audience is roughly 5.2 times the size of the list followed. 358 published posts give Gabriella Demczukغبرييلا دمشوك a moderate archive on Instagram.

What is Gabriella Demczukغبرييلا دمشوك's engagement rate?

Gabriella Demczukغبرييلا دمشوك's engagement rate on Instagram is 2%, between 1% and 3%, or 1 to 3 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 50 followers. An average post collects 195 likes and 7 comments, close to 28 likes for each comment.

What does Gabriella Demczukغبرييلا دمشوك post about on Instagram?

Flinque files Gabriella Demczukغبرييلا دمشوك under Artist, with Music & Artists as a secondary category. All 10 recent posts Flinque holds for Gabriella Demczukغبرييلا دمشوك are carousels. The 10 recent Instagram captions Flinque holds for Gabriella Demczukغبرييلا دمشوك repeatedly use the words through, these, which, material and cochineal. Gabriella Demczukغبرييلا دمشوك writes those captions mainly in English.

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Gabriella Demczukغبرييلا دمشوك's contact details are not published on Flinque's public profile. The Instagram bio links to 1 external site, and a free Flinque account opens that link. The account is registered as an Instagram business account. Brands with a free Flinque account can shortlist Gabriella Demczukغبرييلا دمشوك and use Flinque's outreach tools wherever a contact route is on file.

Gabriella Demczukغبرييلا دمشوك's own Instagram profile is the one outbound link Flinque publishes for the account, and the bio link opens after signing up.

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