My experience, as a constant outsider to the cultural schemes that surround me, has motivated me to strive to create a universal visual language of my own. My approach is to overwrite already existing visual constructs, by either manipulating them or ignoring them completely. Sometimes this process results in an a… Read More
My experience, as a constant outsider to the cultural schemes that surround me, has motivated me to strive to create a universal visual language of my own. My approach is to overwrite already existing visual constructs, by either manipulating them or ignoring them completely. Sometimes this process results in an almost clinically removed study and analysis of tradition and stereotypes through deconstruction. My practice is concerned with creating structured and controlled environments for spontaneity and organic movement.
I find that the overused term ‘passion’ does not accurately describe the drive of my artistic practice. Instead, I prefer thinking of my art as a pursuit of my curiosity, obsessiveness and childishness. Where the curiosity and obsessiveness are the stimulators, and the childishness is involved in experimental studio processes of restructuring my ideas.
I am particularly interested in biological and biomorphic forms. My work often mimics organic matter and fungal growth. Decomposition as a concept of both destruction and cohabitation has driven my curiosity of the unique patterns of growth and evolution. This has become a part of my visual vocabulary as a reference to the grotesque and revolting body. In a lot of my drawings I find myself alluding to landscape as I create bottom heavy compositions that have an underlying sense of interconnection. I think this happens because of my interest in the connections of how different societies function. I am often intrigued by negative spaces (blank spaces), to me the negative space in my drawings are the place for potential, the space beyond the chaos, the space for thought and innovation. I also use it as a tool for discomfort and unease in my work.
Recently, I have been working with soy wax as my primary obsession. I started using this material as I remembered a peculiar tradition from my childhood in Poland, which involves pouring hot wax through a keyhole into ice-cold water, and the shadows of the spontaneous shapes are interpreted to make future predictions. The appeal of this substance is in its malleability and flexibility, which allows for radically changing forms in an exhibition setting. My wax sculptures and installations are a deconstructed reinterpretation of this tradition. I use an already existing concept to reimagine and recreate spaces. Read Less