ABOUT ME / ART, FILM, TECHNOLOGY
I paint, photograph and work on films. My work takes me between European cities — from exhibitions and galleries to museums and film sets.
NOTHING starts
with a blank page.
BIOGRAPHY
I am a contemporary artist and audiovisual producer. I develop and lead projects where art, technology and education meet, combining conceptual work with practical projects in social and institutional settings.
My work has been shown in numerous gallery exhibitions in Poland, Germany and Ukraine. It has also reached London and Amsterdam.
My practice draws on the idea of social sculpture, treating society itself as the material of art. I am interested in the stories and contexts of works: the relationships, processes and changes they can speak of.
I have worked on “The Peasants” — Poland’s submission for the Academy Awards — and the Oscar-nominated “The Ugly Stepsister”. I am currently collaborating on a film based on an unrealised screenplay by Krzysztof Kieślowski. I am also the cinematographer on the Polish-French production “Joy”.
I design original technological solutions for film, museums and education, including virtual narrative trails for the Geological Museum in Warsaw.
I lead the Media Lab at the Wrocław Feature Film Studio, where I work as a camera supervisor. I combine technical knowledge with experience in production and art.
I have taken part in projects and exhibitions in Poland and abroad, including the main exhibition of the International FotoArt Festival in Bielsko-Biała and Fotofestiwal in Łódź. My work has been shown as part of the new wave of contemporary Polish photography, including the exhibition “Relations / Young Wave” at FOTO-GEN Gallery.
I was involved in the Kraków art movement Mikrokosmos. I have collaborated with the Leon Schiller National Film School in Łódź. I am also taking part in research conducted by SWPS University.
THREE AREAS OF ONE PRACTICE
I work with paint, light and physical objects. The texture of the support, the resistance of a material and the traces of tools matter to me. Analogue work also means paint-stained hands, trial and error, and the demanding process of the photographic darkroom — time and effort that remain within the work.
My starting point is traditional craft: composition, proportion, colour and working with light. It gives me a basis for experimenting with the medium and finding my own form.
I work with film equipment and program motion-control systems for stop-motion animation. I design movements for cameras and devices, where precision, repeatability and the relationship between technology and the image are essential.
I also create new-media art installations, program and work in digital environments. I combine code, mechanics and imagery to build tools and situations in which technology becomes part of the story and the viewer’s experience.
I bring these experiences together in my educational practice. I connect material, image and technology so that they help explain one another: analogue experience makes digital tools easier to understand, while technology offers another way of seeing an artistic process.
I combine technical knowledge with creative experience. I want people to understand the connections: how an idea informs the choice of a tool, how that tool changes the way we work and what this means for the resulting work.