I am writing from the inside of a spiral where time and history are chronic, leaking, looping, expanding, and fermenting. The catalyst for my work is a constant negotiation of the disconnection between my inner world(s) and the external world around me, which I often ﬁnd absurd.
As a child, I was convinced that my eyes were the shutter of a camera in which I could actively control what moments to record and store in my memory. Me: the child, the camera, the cyborg. “The cyborg is resolutely committed to partiality, irony, intimacy, and perversity.” Donna Haraway wrote in A Cyborg Manifesto.
My processes are intuitive yet built on extensive research into various fields. My current research focuses on (post)memory, migration, time, translation (and the multilingual brain), the transmission of trauma, Slavic and Norse folklore, paganism, and the climate crisis. I am particularly interested in exploring how these themes are interconnected with each other using mycorrhizal networks as a framework for my thinking.
I have been thinking, making, and writing about the interconnection of these themes throughout my two years at the RCA. My dissertation ‘Slippermail, Snapshots & Secrets’ is an experimental text that explores some of these themes through reflections on the collaborative process of making the ﬁlm Poczta Pantoﬂowa [Slippermail] (WIP) about my grandmother’s involvement in the Solidarity movement in Poland during the 80s. The text contextualises my thinking, processes, and themes of the work I am presenting at the RCA 2022.
At the beginning of this academic year, I was experiencing regular sleep paralysis and nightmares about chicken feet. Through processes of automatic writing, I discovered how the chicken feet symbolised different significant moments in my life: my childhood pet chicken Høne: who refused to conform to the 'norms' of domesticated chicken, my parents' divorce (which led to the slaughter of our chickens, although not Høne), a bird/eye creature which haunted my dreams following the sudden passing of a close friend, the family dinner where I decided to become vegetarian and the Slavic folklore figure Baba Yaga which in my family was used as a scare to make children behave well. Building on my existing research and work, chicken feet, and the trope of the 'Witch', Baba Yaga, became a backdrop for me to explore the connection between gendered violence and the violence against nature.
During my time at the RCA, I have become interested in how my research can translate into different materials, expanding my practice towards a sculptural direction. I was drawn to the notion of materialising my nightmares about the chicken feet to explore making the intangible, tangible. Working with different mediums allows me to explore the interconnections of my research interests through the relationship between the mediums when they encounter each other in unfamiliar ways. I am particularly interested in the tension between the familiar and the unfamiliar because I believe the uncanny affect can create a brief shared experience.