Creations
Collages (2020 -2025)
• Description: My new series of collages is inspired by my fascination with the vibrant city of Hong Kong, where I have lived for nearly seven years. This dynamic metropolis, characterized by its intri cate networks, escalators, media facades, and connective megastructures, never ceases to captivate me with its diversity and energy.
Hong Kong is a multilayered city, rich in color and composed of architectural elements that often appear randomly assembled, creating a collage-like atmosphere. In my artistic explo ration, I have been collecting printed flyers from museums, exhibitions, and events I have attended over time. From these scraps of paper, I skillfully reconstruct images, emotions, and impressions that encapsulate the essence of my experiences in Hong Kong. Through my collages, I invite viewers to engage with the city's unique character and the myriad narra tives contained within these found materials
Rain Records (2011 & 2013)
• Description: “Rain Records” are based on a play between light and darkness which resembles a struggle of two opposite elements located in one space. The image gradually reveals itself to viewers as their eyes slowly adjust to the darkness. Only after it takes place, full perception of this art piece is possible, and the main theme of the work becomes visible. It is a paper bridge stretched between and connecting light and darkness. The application of this strategy allows conducting an analysis of ephemeral relations based only on impressions arising from human senses.
PanelCut (2012)
• Description: An artistic installation created for the “Moonwalk” exhibition at Śródka Gallery in Poznań consists of two interconnected elements: a graphic imitation of the gallery floor (approx. 150 printed panels, each 100cm x 20cm) and a boarded-up exterior window featuring printed graphics resembling wooden beams. The floor outline marks the former location of a second-hand bookshop, once a hub for local community life, now closed like many other local initiatives. A local resident known as “Grey” symbolically boarded up the shop, once named “A Room with a View.” The use of fake, flimsy boards to cover the only window reflects the area's sense of decline and hopelessness, embedding the artwork in its social context.
RE:GENERATION - ŚRÓDKA (2006)
• Description: This artistic installation was presented twice in two different locations. The first exhibition took place at the Inner Spaces Gallery in Poznań and featured two sculptures of female figures: one of a girl hiding in a corner, and the other of a woman calling to her from above, from a suggested window on the upper floor. Their juxtaposition evokes a parent-child relationship.
The same installation was later exhibited in an urban area of the Śródka district in Poznań. This time, the artist chose a hidden, tiny courtyard with a total surface area of just 6 square meters. Cramped between high, dark building walls, the space created a claustrophobic atmosphere filled with the gurgling sounds of pigeons. The setting felt both terrifying and captivating.
A figure of the small girl reappeared in the corner of the courtyard. Facing the wall, she hides her face in her hands as if playing “hide and seek.” The installation naturally integrated into the space, becoming site-specific, as if the place itself had been waiting to be filled.
The Light (2007-2009)
• Description: This series of graphic artworks was created using linocut techniques combined with artificial light. The artist introduced light as a key element by positioning a lamp behind selected sections of the wall, effectively “lighting up” specific objects within the images. This simple intervention gives the impression that parts of the artwork are painted with light, complementing the printed elements.
The interplay between brightness and darkness allows for multiple viewing experiences. In full light, the illuminated elements appear subtly over time. In dim lighting, a balance emerges between the lit and printed areas. In complete darkness, the light-painted elements take center stage, while the printed parts gradually reveal themselves as the viewer's eyes adjust.
Tatami (2010)
• Description: This artistic installation consists of two separate objects: a standard European chair and a low Japanese table, displayed in a gallery space. Both objects are painted white, allowing them to seamlessly blend into the classic white cube setting, emphasizing their function rather than their form. As a result, the chair and table appear fleeting, ephemeral, and almost non-existent.
At the heart of the installation is their mutual incompatibility—the chair is too high, and the table too low. Moreover, the chair does not fit properly in the space, with its backrest wedged against a slanted ceiling. This lack of functionality and mismatch becomes the central theme of the work, prompting reflection on dissonance and spatial tension.
WATERFALLS - FAMILY TRIP TO NIAGARA FALLS (2012)
• Description: The series “Waterfalls – Family Trip to Niagara Falls” is a collection of four photo-collages, each crafted using a unique technique of printing on photographic paper and assembling spatial compositions from old family photographs. The artist cuts out figures of her own relatives from black-and-white or sepia images and places them against fabricated natural backdrops, creating miniature, staged installations.
In “The Parking Lot,” small groups of people are scattered with a bus in the background, suggesting the beginning of a journey. “The Picnic” captures the same figures resting on a grassy meadow under a bright sky dotted with clouds, evoking a moment of togetherness. “The White Walk” shifts the scene to a bamboo forest, where the figures appear to wander in quiet reflection. Finally, “The Falls” presents the family in front of the iconic Niagara Falls, concluding the trip with a powerful natural spectacle.
In each piece, the artist inserts herself into the scene—sometimes sitting on a stone, other times on a suitcase—cheerfully inviting viewers to take part in this imagined family outing. Though rooted in personal imagery, the works evoke a universal sense of nostalgia, longing, and emotional warmth that resonates beyond individual experience.
Momentary Unities (2006-2008)
• Description: The series “Waterfalls – Family Trip to Niagara Falls” is a collection of four photo-collages, each crafted using a unique technique of printing on photographic paper and assembling spatial compositions from old family photographs. The artist cuts out figures of her own relatives from black-and-white or sepia images and places them against fabricated natural backdrops, creating miniature, staged installations.
In “The Parking Lot,” small groups of people are scattered with a bus in the background, suggesting the beginning of a journey. “The Picnic” captures the same figures resting on a grassy meadow under a bright sky dotted with clouds, evoking a moment of togetherness. “The White Walk” shifts the scene to a bamboo forest, where the figures appear to wander in quiet reflection. Finally, “The Falls” presents the family in front of the iconic Niagara Falls, concluding the trip with a powerful natural spectacle.
In each piece, the artist inserts herself into the scene—sometimes sitting on a stone, other times on a suitcase—cheerfully inviting viewers to take part in this imagined family outing. Though rooted in personal imagery, the works evoke a universal sense of nostalgia, longing, and emotional warmth that resonates beyond individual experience.
Fragmentation (2005)
• Description: This series, originally developed as a diploma dissertation project, was exhibited at the Old Slaughterhouse in Poznań as part of the final presentation for the “Maria Dokowicz Competition.” It consists of eight graphic works created using the serigraphy technique, accompanied by off-prints of shadows on the walls. The series reflects on a modern tendency to rapidly fuse incompatible or contrasting elements into temporary unities. Installed in a narrow corridor and an adjoining room, the spatial arrangement played a key role in the viewer’s experience—limiting perception to fragmented views and encouraging deeper engagement. An additional experimental element involved simulated, non-existent shadows on the walls, also created through serigraphy, referencing earlier works in the room. This restricted viewing space became integral to the meaning of the works, generating new visual relationships and interpretative layers within each piece.
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