Water of Seven Seas

Installation based off my drawings and prints - a three dimensional world

"I sacrifice my hands for these moments in time" 

rose

Handmade Collage, black embroidery with a mysterious door on A3 fine art paper. (See the video linked to see the whole artwork)

RAFAELA01

Fuscia Lines

Cubist piano and pianist playing by night with an open window showing the city skyline

Citylights

Originally Burning Man 2019, currently in private collation.

Stone 27

I Was There III

This work was originally inspired by the collaboration between Gerhard Richter and composer Steve Reich's “Patterns”. In this particular work, the painter's image is continually deconstructed until it reaches a state of the sublime. In a similar manner after creating and translating a series of interviews into data fields, I set about to create a sequence of further deconstruction and spatial abstraction. By utilising a series of digital cameras in space and imbuing the environment with a sense of speed I arrived at this point. Data points accelerated moving in micro space expanded into vistas of colour volumes.

Liminal beings are those that cannot easily be placed into a single category of existence. Liminal beings are naturally ambiguous, challenging the cultural networks of social classification. The work evolution of data-based personas which been further abstracted into soft light colour fields. The movement and colour echoing what they once were, now dissolved into amorphous fields of colour and light.

In anthropology, liminality, meaning "a threshold" is the quality of ambiguity or disorientation that occurs in the middle stage of a rite of passage when participants no longer hold their pre-ritual status but have not yet begun the transition to the status they will hold when the rite is complete. During a rite's liminal stage, participants "stand at the threshold” between their previous way of structuring their identity, time, or community, and a new way, in which completing the rite establishes.

See more
https://www.kclart.com/liminal-beings

Liminal Beings 02

to / nip in the bud continues an exploration into the gap between models of language and subjective experience and the multiple layers of meaning that language conveys at a given time. 

to / nip in the bud

Mechanism for opening eyes like an umbrella

#500-Eye Linkages

Breath is inspired by the climate change issue which has drawn public concern right now.
As we know, plants mitigate global warming through photosynthesis—by absorbing carbon dioxide and releasing oxygen, plants help the earth breath. The ability to soak up carbon dioxide and fix it in plants or soil, thereby reducing its concentration in the atmosphere is called Carbon Sink.
However, as the global temperature keeps rising, this kind of valuable ability of plants has been increasingly undermined.
Breath is an art installation that can sense the carbon dioxide concentration around plants. Its lights are green when the CO2 concentration is on the normal level, but if the concentration rises, the lights will turn into red, a color indicating danger. Scattered around plants, the spherical lights keep flickering to visualize the breath of plants for visitors.

BREATH

A series of smaller works, part of my current Borderlands series.

Borderlands: Study #1

This piece is derived as a work from a poem based on a quotation created by the poet Matsui Shigeru and the singer Kawamoto Makoto. The strokes of movement are visualized in the space.
The poem was decomposed and reconstructed, and the resulting screen was calligraphed. The lines in the calligraphy are a part of the letters, and I tried to keep their existence as words as far away from the writer as possible.

poem : Shigeru Matsui, Makoto Kawamoto

Torisan Anpan Bootsy Collins

This piece plays with this possibility in ambiguity by creating a dynamic, ever-changing variety of scale, color, transparency and composition based on the viewer’s orientation, giving each visitor the opportunity to participate in the re-creation of the work from myriad perspectives.

Suspended Disbelief

2015 

sponge recycled, hot glue, cord jute
variable dimensions

“Emocjonalne ugięcie przestrzeni”
[“Emotional deflection of space”]

All-Poland Platform of Academic Cooperation
Centre of Polish Sculpture in Orońsko

curator: Anna Podsiadły

I start from learning. I listen in to the space which determines my activity. It is a brick that becomes the spar triggering it. Wanting to go over a brick wall, I reach out for
a material which is its opposite. It it sponge with its typical features:its softness, possibility of shaping and differentiation of surface.

I treat the dimensions of the coach house as a template and starting point for building a structure which will reshape this place. It will disturb the existing order and break the symmetry which evolves into an organic form, looking for its own way. Just like sthenic and asthenic emotions steer our behavior, such is the way of using matter in particular steps
I adopted.

Lifting, taking down, various levels of tension. Besides: density, depth, strength, control - they all translate into a form.

I saturate the unknown history of the acquired material with my own emotion, trying to evoke it in the viewer. Will it be successful?


CONSONANS

At first sight, the project BACKSITES is basicly looking at torsos back. But if you take a detailed look at its individual deformation, you gain insight about the back‘s history and incidents. A back reflects how much a body endured and suffered under daily and special conditions – it is a reflection of a life‘s experiences.
BACKSITES is a homage to human back – the essential part of the human body that connects head with all extremities.

When I took my first photograph of a back, that picture made me want to create a series. From that day on I captured further 98 human backs within four years of work. A back structure is fascinating, especially its figurative shape from hip to neck.

The human trunk had a special value during the era of renaissance, and I would like to give back the value it deserves in our modern times.
To point particularly it‘s unique shape and structure. In the 19th century, modeling the shape of a trunk became special kind of a art in plastic on its own. To represent a trunk was already practiced and honoured since the era of Antique Egypt and as well at the times of the Roman Empire.
Today we are living in a highly dynamic world, surrounded by so many digital Media, that we almost forgot about art in real life. I would like to revive this ancient art afresh.

RUECKSICHTEN

Charline, tempera, oil and acrylic om cotton canvas, 115x135 cm, 2020

Charline

The trace of her endless crawling on the bronze skin of time leaves behind a black, opaque stripe.
This makes her blind without image, a ghost, a small, indestructible beauty.
Strange, static movements, frozen in space that recall moments from when we were all raindrops in the belly of a lazy July.
From her first image, remains only the smell of the hair and a metallic taste on the dry palate.


Blind Venus

A series of photographs from the artist's explorations of Lake Weyba during a provocation focusing on ‘The Feminine Landscape’.  These provocations were carried out as part of the collaboratory project A Topography for Reflection in the Floating Land Festival 2021.

What does memory look like?  How does my body in the landscape reactivate those memories, particularly as a feminine presence in the landscape, both literally and metaphorically.


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