Non-places, part 1, stop-motion animation, 2018


Piano in the river, Hagen, 2019


Labirynths, stop-motion animation, 2016


Narratives Festival, Gdańsk Biskupia Górka, 2016

An observer and a chaos. Interactive installation.

According to the Heisenberg’s theory of uncertainty, observation of the processes inevitably affects those particular processes. In the chaos theory, there is a popular metaphor of „the butterfly wings” in Africa, whose motion affect the course of global climatic processes.

In the instalalation An observer and a chaos the movementof the spectators creates the work cooperatively with the functions of the work itself. Their movement guide the dynamic of the animation and the sound collage. We are not able to predict the movement of viewers. We use a case in the installation.

The fragmentation of contemporary audiovisual culture, messages, images, sounds, thousands of which we are processed each day lays us out in any direction, a map with no beginning or end, an ucreasing abudance of wnrelated and arbitrary information. This frenetic array of images and information is a collage. The,content, the meaning and importance we give them, dependsonly on us… But, doyou really have a control above it?

Points of reference


The line of division

If we want to relax „in the bosom of nature” in the city parks, we still unwillingly stay in a place, where the divisions of space which rule there actually belong to the city. Meticulously designed nets of lanes in parks remind Mondrian’s setting of streets.

In parks, paradoxically, you very strongly feel the human’s separation from nature. They are ersatzes of nature. According to Jean Baudrillard’s philosophy they simulate nature as they are not nature themselves. They give a pleasant aesthetic illusion. More aesthetic than reality itself since there are no hidden dangers. The nature there is completely dominated, designed. But some of the space settings can be hemming and some can become asylums, which awake the feeling of longing, nostalgia for direct contact with nature.

The contemporary human being receives uncountable amount of stimuli. He/She ist used to intensity of life. Sometimes he/she is not capable to appreciate the delicacy of nature, to establish direct connection with it. He/She is able to notice it only through its intensified imitations.

The film „The line of division” contains the above reflections. The contrast between human made nervous marking out of the space and calm livingness, boundlessness of nature shown in the picture is repeated in other form, in sound. One of the birds was mastered through hard computer rhythmic, which we know from music. Other was diminished for two octaves to imitate musical bass tone colour, which birds don’t posses.

Birdsong which was recorded and mastered by a human, gets slightly aggressive tone. It is more ordered, simplified, darker than its prototype, which was the source of the first music. The sounds appropriated by technology start to recall turmoil, which is characteristic for our daily acoustic environment.

In the city parks, where clamour of voices and hum of voices are heard in the far, we still perceive them in our subconscious mind, it is as well difficult to catch a real birdsong melody. But even those converted sounds, as well as the geometrically drawn fenced green spaces remind us of our need for being close to nature.

And perhaps this is what we experience while relaxing in the city parks. While feeding ourselves with an illusion, ersatz of nature, we long.

The Tower of Babel

The Tower of Babel is a metaphor of our daily lives. Building is a reckless operation, aimed at creating an agreement. The use of the infantile treatments, such as a collection of objects, whith popular logos on the selected block underline that act. Each consecutive blocks show the effort that is put into the work, which is unprofitable. Paradoxically, impossible to complain about. The impermanence of all elements of the film – the materiality of the shoe, barely perceptible signs, logos and designs, as well as changing the shadow of the object are the most important issues of the film, which is complemented by installation made of the blocks. The work presentation: a one work – 2 films shown at the same time, side by side, in an identical size + plus: installation of blocks (small size ,about 0, 5 meter tall), which appears in the film. Both towers shown in separate recordings are complementary to each other. Both seem to be detached from reality, while being very close to it. Viewers looking at both screens are not able to focus on one. This makes it particularly affected by two key activities: building and destruction. The premise of installation is to be movable. Adjustable blocks will trigger additional sound effect and will be a chance for viewer to feel for a moment like a builder-creator.

picture: Marta Kawecka, Karolina Majewska, Sara Niedolaz
music: Andrzej Rejman, Rafał Smoliński

The Landscape as an eye. Interactive installation.