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↑ Subsumption, 2023
Bioplastic, human hair, copper conduit, plaster, linen, natural dye, 3-channel video
Variable dimensions (central form 55cm x 81 cm x 56 cm)
One body cast in plaster while slowly shifting positions.
Another body traced in a similar position in copper tubing.
The two interact, unable to contain or shape the other, stuck in, or sharing, space.
Three suspended videos of figurative mounds found in the landscape of Rejmyre:
A bonfire signaling the death of winter.
A boulder overtaken by moss.
A pile of glass scraps from a factory accident.
Photos courtesy of Niclas Fasth / Rejmyre Art Lab
↑ INTAKE, 2023
AI-assisted video, 3D modeling, sound landscapes, text, motion sensor, visitors’ shadows, webcam
A solo exhibition and project at Understudy in Denver, CO.
An interactive installation centered on the domains of psychological care, self-made space, and psychogeography. Half tongue-in-cheek, half earnest attempt, the project invites visitors to create their own “care environment.” Using AI-assisted video, looped audio, and 3D modeling, a custom mixed-reality environment generates to respond to specific input.
Visitors start by filling out an intake form that offers a narrative waltz into discomfort, moodiness, reflection, and bodily sensations. After completing the form, they are matched with a simulated environment. Can this environment care for them better than a person, a clinician, or the everyday world?
They walk behind the screen and donate their shadow self to the archive. Casting a shadow onto projected reality. They remain anonymous but their presence leaves an indelible trace (they are, after all, being monitored and recorded in this intimate moment). The videos of visitor interaction play in a different area of the gallery throughout the duration of the show, accumulating.
Installation photos courtesy of Third Dune Productions.
Coding by Austin Slominski.
↑ Sanctum for 1985, 2023
Conduit, human hair, moving air.
Exhibited at Redline Center for Contemporary Art in Denver, CO as part of “Gravitropic” 2023.
↑ Parasitic Draw, 2022
Copper wire, mesh fabric, human hair, leather, video.
Exhibited in “Future Forging: Mythos of the Cybernaut” at Experience Gallery in Denver, CO, curated by Sharifa Moore and Cherish Marquez.
↑ Resztka, 2022
I performed at three separate stations across the Denver Art Museum’s two buildings. AI-generated videos projected onto the walls behind me - these were generated from text from my grandparents’ stories of pre-, during, and post- World War II in Poland. I wore a sculptural costume and asked that people donate snippets of their hair at each station, ring a shepherd’s bell to activate me, and I would sew their hair onto my shroud or the altar at the final station. A trumpeter played The Hejnał Trumpet Call of Kraków transcribed into a blues key when I arrived at each station.
Photo documentation courtesy of the Denver Art Museum.
↑ Dehiscence, 2022.
Expanding foam, human hair, spray paint, conduit.
Exhibited in “Grossly Affectionate,” Boulder Museum of Contemporary Art, curated by Pam Meadows.
Images courtesy of Wes Magyar.
↑ Ossification, 2022 (stills)
2-channel video (3d modeling)
Exhibited in “AURA,” at Union Hall Gallery, Denver, CO.
↑ Abscission, 2022.
conduit, foam, concrete, oxidized aluminum, video.
Exhibited in “AURA,” Union Hall Denver.
↑ Surrogate, 2021
Human hair, conduit, plaster, resin, exhaust pipe, wood, polymeric sand, tar-impregnated board, moving air, acrylic paint, reclaimed particle board, reclaimed cinder blocks
Exhibited in “Chromatic Cogitations: Rhythm Reboot” at Redline Contemporary Art Center, curated by Rosie Gordon-Wallace.
↑ Body Topography (Lying) 2021
Copper wire, wood, adhesive, solder. 3” x 7” x 4”
↑ Species of a Body: Mounts 01-09. 2021.
Wood, expanding foam, human hair, paint.
In private collections.
↑ Species of a Body: Mount 01. 2021.
↑ Species of a Body: Mount 02. 2021.
↑ Species of a Body: Mount 03. 2021.
↑ Dis/entanglement, 2021.
Conduit, human hair, foam.
Exhibited at Rino Art Park.