A London-based visual artist whose practice encompasses sculpture, public art, installation, costume, and performance. She transcends disciplinary boundaries, transforming the functions of both objects worn on the body and the body itself, and interacting with the surrounding space. Her work considers place, environment, and audiences, who often become unwitting participants in the work itself.
Exploring biological and natural phenomena, as well as the social and technological aspects of our world, leads her to experiment with scale, connections, and communication between the material and immaterial worlds. She studied contemporary art practice at the Royal College of Art, sculpture at the Academy of Fine Arts in Warsaw, and journalism. She was nominated for the UK Young Artist of the Year Award with an exhibition at the Saatchi Gallery in London.
She was most recently an artist in residence at Alexander McQueen’s Sarabande Foundation. She has created art installations at Kew Botanic Gardens Wakehurst, participated in Kensington + Chelsea Art Week, creating an installation at Cromwell Place Gallery, and has also participated in exhibitions by the Polish Sculpture Centre at the Centre for Contemporary Art in Toruń and Studio Cannaregio in Venice.
A wave that doesn’t dissipate; an event that refuses to fit into the chain of causes and effects. The installation depicts a moment of suspension – an anomaly that becomes a rule; a deviation that stabilizes in the structure of the visible.
Events around us seem to brutally break down barriers of what we once considered impossible or highly improbable. What becomes our current reality ceases to be a paradox.
An object on the surface of the Upper Pond in Lublin’s Saxon Garden freezes the trace of an unknown, violent event in time, creating the illusion of a cut, breached surface—without a visible perpetrator, only the echo of their presence. It is a meditation on the city as a space of tension between movement and duration, where past and present coexist in a single frame.
The city is an archive of recorded gestures. Its space collects not only traces of events but also their representations—in layers of architecture, in the topography of collective memory. In this sense, the “frozen wave” is a model of urban history: a dramatic impulse that, at the moment of its birth, seems exceptional, will be assimilated over time, transformed into a background element.
—Małgorzata Lisiecka
