ARTIST STATEMENT


My artistic practice is built around manifestations of incongruity, misdirection and the inherently powerless gaining power.

 Working with a variety of media — painting, graphics, make up, performance, gif animation, objects — I assemble total narrative installations from them. The viewer is physically placed inside the work — a directed place, the objects of which form a web of references between different meanings inside the author’s symbolic system. The search for semantic overlaps, impositions and, conversely, gaps and discrepancies reflects my direct interest in poetics and text in a broad sense.

One of the first metaphors rooted in language that I adopted was the pun in the title of House of Bugs, a project about the superfluous and the persecuted (“bug” standing for both “error” and “insect”). In that project, conceived in 2021, I collected stories about the influence of something as small and insignificant as a bug, manifesting the power of community and even a lone bug to change landscapes not only geographically, but also politically. The moth from the House of Bugs universe, as a symbol of depressive fragility, became my permanent alter ego, around which several independent projects ended up forming. Tricksterism as a method is reflected in the way these stories unfold: in Open Mo (u)th, I put the viewer in the position of a butterfly being hunted, or otherwise invite them to witness an imprisonment, while being imprisoned in the installation themselves (Go to the fftn bend).

Performative transformations into objects or different species — into a magic tablecloth, a forget-me-not, a Rapunzel radish or a huge moth, are used by me for storytelling. The stories that I reveal to the viewer have many entry points and can be told from any place, and the transit of characters between the graphic sheet and the performance serves as a way to connect to different optics. In the end, I tell stories by giving myself and others a place to be different.