Education and Specialization

Graduate of the Faculty of Cinematography and Television Production at Leon Schiller National Film, Television and Theatre School in Łódź – specialization in “Visual Communication,” where she gained solid foundations in visual arts and television.

Graduate of the Fryderyk Chopin Secondary Music School in Warsaw, specializing in viola performance and music composition.

Studied at the Higher School of Psychotronics in Łódź, expanding knowledge in interdisciplinary aspects of perception and consciousness.

Multimedia artist active in video art, digital photography, 3D animation, hybrid objects, and performance.

Selected Projections

• WRO, Wrocław (1991) – individual video art show, inaugurating her career in new media art.
• CSW Zamek Ujazdowski, Warsaw (1992) – individual video art show, presenting early experiments with form.
• Ostrannenie, Bauhaus-Dessau (1993) – individual video art show, exploring avant-garde approaches.
• Transmediale, Berlin (1999) – projection of video art “Binary Notes.”
• Galeria Arsenał, Poznań (2001) – individual video art show, presenting the development of her aesthetics.
• Tate Modern Gallery, London (2004) – projection in the framework of “Polish women artists’ films…,” promoting Polish art abroad.
• The Kitchen, New York (2004) – projection in the framework of “Polish women artists’ films…,” strengthening her presence on the global scene.
• Kino Wolf, Berlin (2022) – projection and performance, combining multimedia with live scenic actions.

Selected Exhibitions

• Galeria Fotografii FF, Łódź (2000) – monographic exhibition, summarizing a decade of creativity.
• CSW Zamek Ujazdowski, Warsaw (2007) – monographic exhibition, presenting the evolution of her works.
• Biennale of Photography, Poznań – participation in a prestigious photographic event.
• MuuMedia Festival Kiasma, Galeria Otso, Helsinki (1998) – exhibition of digital photograms, gaining Nordic recognition.
• CSW Zamek Ujazdowski, Warsaw (2008) – exhibition “Efekt czerwonych oczu. Fotografia Polska XXI wieku” (“Red Eyes Effect. Polish Photography of the 21st Century”), exploring visual perception.
• Galeria WY, Łódź (2024) – exhibition “Złap Oddech Sztuki” (“Catch a Breath of Art”), presenting works with AI (photograms, objects, and morphings).
• “Historie mówione współczesności” (“Spoken Histories of the Present”), MSN and ASP Warsaw (2022) – participation in a project with 50 artists, documenting contemporaneity.
• “Dziś są nasze urodziny” (“Today Is Our Birthday”) – exhibition for the 100th anniversary of PGS (State Art Gallery) in Łódź – 1 presentation of 2D animation with AI involvement.
• Piotrkowskie Biennale Sztuki (2025) – qualification with 3D animation “Merkury i Krew RH-3.0,” confirming innovation.

Performances

• Interferenzen - Performance-Intermedia Festival, Museum Moderner Kunst Stiftung Ludwig, Vienna (1992).
• Konferencja Artline, Nadbałtyckie Centrum Kultury, Gdańsk (2014) – multimedia spectacle with Pentarosa °// Cymatics & Cinematics Ensemble, integrating atonal music with visualizations.
• Warszawska Jesień (2018) – multimedia performance at the Institute of Theater, experimenting with electronics.
• Festiwal Interakcje, Piotrków (2019) – cycle “Felicytacje” with Pentarosa Ensemble, interventionist artistic actions.
• Konteksty, Sokołowsko (2019) – cycle “Felicytacje” with Pentarosa Ensemble, continuation of social actions.
• “Performance na dźwięki, Hommage à A. Bieżan” (2015, 2019) - Galeria XXi, MIK, auditorium, ul. Elektoralna, Warsaw – cyclical events paying homage to pioneers of experimental music.

Works and Cycles

• Video art, e.g., Salve Nostradamus (1990), Animus.XII, “Fluktuacje Księżyca” (“Moon Fluctuations”) (1992), “Kaprysy i wariacje na tematy własne” (“Caprices and Variations on Own Themes”) (1994), “Binary Notes” (1998), “Hybernating chips” (1999), Alice & Aibo (2002), “Memetic Infection” (2003), “Merkury & Krew RH-2.0” (2024), “Merkury & Krew RH-3.0” (2025).
• First in Polish art large-format digitally manipulated photographs: “Iluminacje I. Online. Binary Man” (1998),
• “Iluminacje II. Studnia natury ludzkiej” (“Illuminations II. Well of Human Nature”) (1999), “Portret wielokrotny” (“Multiple Portrait”) (1997), “Ekrany, strumienie energetyczne” (“Screens, Energy Streams”) (2000), “Malavida” (2006), “Alice&Aibo” (2003), “Merkury & Krew Rh-2004”

Works in national and private collections

• National Muzeum in Szczecin - Contemporary art collection
• Center for Contemporary Art in Toruń Collections “Signs of the Time”
• Bielska Gallery – Contemporary art collection
• Bieńkowski Brothers Collection – “Fotoobrazy - gest plastyczny w fotografii” (“Photo Images - Plastic Gesture in Photography”),
• Madelski Collection – “Uwikłani w płeć” (“Entangled in Gender”)
• Exchange Gallery J. Robakowski.
• Author of music for several films about art, combining acoustic and electronic elements.
• From 2014 to 2024: performance-concerts with Pentarosa °// Cymatics & Cinematics Ensemble (with Weronika Amelia Kami), utilizing atonal music and live electronics.

Artistic Development

• Pioneer of the cyberfeminist movement in Polish art, exploring identity and transformations in the electronic environment since the 1990s.
• From 1996 focused on analysis of mediated communication, telepresence, and identity peripeteias in the digital era.
• From 2014 creates Pentarosa °// Cymatics & Cinematics Ensemble with Weronika Amelia Kami as a laboratory for multimedia performances.
• From 2023 explores AI technologies, creating morphing 3D animations, hybrid upcycling compositions, and a prototype avatar/agent AI, serving as a foundation for work on the bot and hologram of Syrena.
• Tests physical properties of materials and their shaping with AI assistance, developing postmedial art forms.

In the last year, I dedicated intensive work to comprehensive professional development within the KPO – National Recovery and Resilience Plan scholarship project “Hybrid Compositions. Upcycling in Technological Fusion.”

The project Hybrid Compositions. Upcycling in Technological Fusion is an interdisciplinary artistic undertaking that explores transhumanism, ecology, and information toxicity through the integration of upcycling, advanced technologies (artificial intelligence [AI], 3D printing, 3D computer animation) and new synthetic materials for modeling (silicons, resins, UV-curing masses) used within traditional artistic media (painting, sculpture, drawing).

The project fits into the paradigms of hybrid and postmedial art, reflecting the complexity of the Anthropocene era, fluid posthuman identity, and global information networks. Its goal is, through the artist’s acquisition of new digital competencies in the course of work, to create three-dimensional, abstract works that engage recipients in a transmedial narrative, requiring active reconstruction of meanings, which counters passive consumption of culture and disinformation. Its goal was to create works that are a technological fusion, referring to traditional and latest media (AI), also integrating upcycled materials.

A large part of the project, requiring in-depth research, was updating knowledge spiked with shot. My first object created in a hybrid technique combining 3D modeling, 3D printing, and sculptural techniques working with resins, glasswork techniques.

In turn, the cycle “Merkury i Krew Rh-” composed of digital images and short animated forms is the best illustration of the progress I made in the last year. The first animation of individual images is still flat 2D, while this year’s work is a truly 3D animation done at a pace that is only possible through collaboration with AI.

The “Hybrid Compositions” project has become a platform for building subsequent postmedial art projects such as the personal Avatar Agent AI project. The presentations I participated in last year mainly concerned summarizing and affirming my earlier avant-garde achievements in digital art (listed in the next point).