I Was There III

This work was originally inspired by the collaboration between Gerhard Richter and composer Steve Reich's “Patterns”. In this particular work, the painter's image is continually deconstructed until it reaches a state of the sublime. In a similar manner after creating and translating a series of interviews into data fields, I set about to create a sequence of further deconstruction and spatial abstraction. By utilising a series of digital cameras in space and imbuing the environment with a sense of speed I arrived at this point. Data points accelerated moving in micro space expanded into vistas of colour volumes.

Liminal beings are those that cannot easily be placed into a single category of existence. Liminal beings are naturally ambiguous, challenging the cultural networks of social classification. The work evolution of data-based personas which been further abstracted into soft light colour fields. The movement and colour echoing what they once were, now dissolved into amorphous fields of colour and light.

In anthropology, liminality, meaning "a threshold" is the quality of ambiguity or disorientation that occurs in the middle stage of a rite of passage when participants no longer hold their pre-ritual status but have not yet begun the transition to the status they will hold when the rite is complete. During a rite's liminal stage, participants "stand at the threshold” between their previous way of structuring their identity, time, or community, and a new way, in which completing the rite establishes.

See more
https://www.kclart.com/liminal-beings

Liminal Beings 02

to / nip in the bud continues an exploration into the gap between models of language and subjective experience and the multiple layers of meaning that language conveys at a given time. 

to / nip in the bud

Mechanism for opening eyes like an umbrella

#500-Eye Linkages

Breath is inspired by the climate change issue which has drawn public concern right now.
As we know, plants mitigate global warming through photosynthesis—by absorbing carbon dioxide and releasing oxygen, plants help the earth breath. The ability to soak up carbon dioxide and fix it in plants or soil, thereby reducing its concentration in the atmosphere is called Carbon Sink.
However, as the global temperature keeps rising, this kind of valuable ability of plants has been increasingly undermined.
Breath is an art installation that can sense the carbon dioxide concentration around plants. Its lights are green when the CO2 concentration is on the normal level, but if the concentration rises, the lights will turn into red, a color indicating danger. Scattered around plants, the spherical lights keep flickering to visualize the breath of plants for visitors.

BREATH

A series of smaller works, part of my current Borderlands series.

Borderlands: Study #1

This piece is derived as a work from a poem based on a quotation created by the poet Matsui Shigeru and the singer Kawamoto Makoto. The strokes of movement are visualized in the space.
The poem was decomposed and reconstructed, and the resulting screen was calligraphed. The lines in the calligraphy are a part of the letters, and I tried to keep their existence as words as far away from the writer as possible.

poem : Shigeru Matsui, Makoto Kawamoto

Torisan Anpan Bootsy Collins

This piece plays with this possibility in ambiguity by creating a dynamic, ever-changing variety of scale, color, transparency and composition based on the viewer’s orientation, giving each visitor the opportunity to participate in the re-creation of the work from myriad perspectives.

Suspended Disbelief

2015 

sponge recycled, hot glue, cord jute
variable dimensions

“Emocjonalne ugięcie przestrzeni”
[“Emotional deflection of space”]

All-Poland Platform of Academic Cooperation
Centre of Polish Sculpture in Orońsko

curator: Anna Podsiadły

I start from learning. I listen in to the space which determines my activity. It is a brick that becomes the spar triggering it. Wanting to go over a brick wall, I reach out for
a material which is its opposite. It it sponge with its typical features:its softness, possibility of shaping and differentiation of surface.

I treat the dimensions of the coach house as a template and starting point for building a structure which will reshape this place. It will disturb the existing order and break the symmetry which evolves into an organic form, looking for its own way. Just like sthenic and asthenic emotions steer our behavior, such is the way of using matter in particular steps
I adopted.

Lifting, taking down, various levels of tension. Besides: density, depth, strength, control - they all translate into a form.

I saturate the unknown history of the acquired material with my own emotion, trying to evoke it in the viewer. Will it be successful?


CONSONANS

At first sight, the project BACKSITES is basicly looking at torsos back. But if you take a detailed look at its individual deformation, you gain insight about the back‘s history and incidents. A back reflects how much a body endured and suffered under daily and special conditions – it is a reflection of a life‘s experiences.
BACKSITES is a homage to human back – the essential part of the human body that connects head with all extremities.

When I took my first photograph of a back, that picture made me want to create a series. From that day on I captured further 98 human backs within four years of work. A back structure is fascinating, especially its figurative shape from hip to neck.

The human trunk had a special value during the era of renaissance, and I would like to give back the value it deserves in our modern times.
To point particularly it‘s unique shape and structure. In the 19th century, modeling the shape of a trunk became special kind of a art in plastic on its own. To represent a trunk was already practiced and honoured since the era of Antique Egypt and as well at the times of the Roman Empire.
Today we are living in a highly dynamic world, surrounded by so many digital Media, that we almost forgot about art in real life. I would like to revive this ancient art afresh.

RUECKSICHTEN

Charline, tempera, oil and acrylic om cotton canvas, 115x135 cm, 2020

Charline

The trace of her endless crawling on the bronze skin of time leaves behind a black, opaque stripe.
This makes her blind without image, a ghost, a small, indestructible beauty.
Strange, static movements, frozen in space that recall moments from when we were all raindrops in the belly of a lazy July.
From her first image, remains only the smell of the hair and a metallic taste on the dry palate.


Blind Venus

A series of photographs from the artist's explorations of Lake Weyba during a provocation focusing on ‘The Feminine Landscape’.  These provocations were carried out as part of the collaboratory project A Topography for Reflection in the Floating Land Festival 2021.

What does memory look like?  How does my body in the landscape reactivate those memories, particularly as a feminine presence in the landscape, both literally and metaphorically.


Land Response 3

GMO Picnic illustrates the dangers in the food we eat. Often fast food is the quick cheap option for busy families and has been touted as the most harmful. Ingredients are given name changes to mislead buyers. Corporate greed continues to contribute to the health crisis of America. 

GMO Picnic

Sculpture Connections was inspired by the end of a particular relationship and an important part of the artwork is watching the textile connections between the two figures break and decay. The sculpture is exhibited outside and after some time all of the connections and feelings (represented by those textile parts) will be lost and figures won´t be one but two lonely figures.  


Connections

All life breathes in their own unique way. Within that uniqueness is a signifier of resplendent vitality. The tubular structure present in this piece is akin to that of the medical profile of the lung, while the various fibers are idiosyncratically representative of respiratory pathways and channels. Lastly, the alternating perspectives and application of contrasting light sources show tribute to the vivacity of respiration.

 An ancient Chinese proverb states “To Live is Better Than to Die “ 好死不如赖活着”. Such a statement is representative of the ideology that quality of life does not supersede that of longevity of life in importance. However, the modern Chinese mentality has impressed higher standards onto the concept of life’s quality; clashing with the Chinese traditionalist definition of life, striving for a life that has meaning and where breaths flow effortlessly. 

 This series aims to invite all life to enter my breathing channel through the creation of a rhythmic, aesthetic, and vibrant breathing environment that inspires others to breathe freshly and effortlessly.

Collection Title: Breathe 01

Representing Margins: A Study of Liminal Spaces 

Eternal Forest poetry Manifesto is at the center of Eternal Forest Sanctuary project. It is written in poetry form in English and Portuguese, it flows as an incantation,  with repetition and circular forms. 

Eternal Forest poetry manifesto accompanies every experience and every initiation of every Eternal Forest Sanctuary, following the tradition of oral transmission. It is originally being read by the artist time and time again during Eternal Forest experiences, but also recited collectively as a community performance by people who are present at the initiation of the Sanctuaries. 

The Manifesto is translated into Portuguese and will be translated in any language where an Eternal Forest Sanctuary is established. 



Eternal Forest Manifesto

The world connected by sound.
Kaoru Shibuta translate musical notes into images and contemporary installations. In addition, through local culture and energy of atmosphere, he create a poetic symphony composed of images, colours and harmony, which is a perfect fusion between nature, music and art.
"If Mozart is the one who composes music to link the terrestrial world to the celestial world, I am the one who undertakes him to propagate it with my painting. If Beethoven composed to surpass philosophy,then I undertake to give them a shape with my paintings. J・S・Bach is the old testament Bible of the classical music."



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