2015, installation, sandblasted stoneware tiles, 180 x 180 cm

The project is almost imperceptible intervention in the gallery space until the moving guests leave marks of their presence on it. As a result of using sterile, white, shiny floor tiles, the surface fragments forming the inscription get dirty, making it visible. Dirt, considered a by-product of everyday life, becomes an indispensable element for the creation of the work. It is a testimony of the passage of time, with which it gains a new value.


What was left

2014, ceramics paper,
4 x 2 x 2 cm

What is usually rejected is saved and preserved in noble material to make us reflect on what we are leaving behind. There are no cards successively filled with notes, plans, dreams, which over time become a form of a document, diary, which allows verification of successes and failures. The act of tearing the corners of the cards reflects the passage of time, it is used to quickly open the calendar on the page with the current date. However, it doesn’t mean the same for everyone  for some it is waiting for something to come, for others counting the days gone by.


Empty Bowls

Since 2014, organization and coordination of action to fight hunger
Festival of High Temperatures

Empty Bowls is an international action that raises awareness and acts in the fight against hunger. Its aim is the involvement of all willing to make ceramic, signed bowls. As part of a public event, guests, having a meal there, have the option of paying a donation to organizations fighting hunger. In return, they can keep the bowl for themselves, to use it every time to remember those who have nothing to fill it with.



2012, action, object, glass bottle with liquid
Art Review 'Survival 10' 'It all depends on you' – Oławka Stadium, Wrocław (Poland)

Arranging a perfumery stand in the sports bath makes guests embarrassed. The hostess encourages people to test and apply secretions, which are a sweat mix of football team members. Sweat, considered an aphrodisiac and a kind of fetish, is a symbol of struggle, effort and bravery for players. Wrapped in glass matter, it becomes an object of desire for some and disgust for others.


I'd like to be weak, as fragile as porcelain

2012, video-performance, 3'21'', loop


Throwing porcelain dishes against the wall (activity stereotypically associated with female moods) that don’t break is a negation of the laws of physics. Strong, irritating sound of hit and the collapse of the intact object intensifies the sense of powerlessness and anger. Life experiences arm us with powerful internal strength necessary for survival. Paradoxically, with the passage with time it is the strenght that becomes the weight and creates the armor that makes the woman invisible. A reflection on the desire to be weak, the need to confront strategies that have been chosen in the past and that don’t work today.



2012, video-performance, 4'49''



2012, installation, table, fabric

For a child of adult maturity, reliable intuition and imaginary supernatural powers, the view of the family table and the arrangement of objects on it becomes an invaluable source of knowledge. Traces left on a white tablecloth provide information that is a record of events taking place in its absence. It is knowledge that hurts and at the same time gives relief, although it changes nothing. It is a form of addiction.
Petticoats, a kind of personal underwear, having close contact with the body, invisible to others, were sewn from old tablecloths. Placed again on the table, they perform the function of covering and reflect the desire to be nearby, control and take responsibility. Petticoats are sewn to the height of a child, so they are too small to be worn by a mature woman.


My home is where I am

2011, video-performance, 4'29''


Walking on cracked ground, tying selected pieces of soil to the soles of feet with a string, and traversing a certain section of the road. The process of disintegration of clay and repeated attempts at walking is accompanied by a sound borrowed from home space.


In situ

2011, site-specific, soil, wire
Symposium 'Fenomen Gemer' – Ozdany (Slovakia)

Fragments of a cracked soil crust, slightly lifted above it's surface, appear as levitating. Those fragments symbolize process of reclaiming clay excavation, which should happen in a name of balance.


Grand Canyon of Art. Landscape of the Mine

2006, symposia and workshops – BOT Brown Coal Mine 'Belchatow'
Organizers: Karina Marusinska (AFA Wroclaw), Aleksandra Idziak (SGGW Warsaw)

Perception of the space of open-pit mine with the aid of art as the new view on industrial, seemingly technically and culturally dead space – identification of landscape (seeking Genius Loci of mine space) and an attempt of modelling it by action; Art as a polemic with strict technique of reclamation; Co-creation of unique, new ‘kraj-obraz’ (Polish: krajobraz – landscape; kraj – country/land; obraz – picture; kraj-obraz – the picture of the country/land) of the mine as an alive source of inspiration for young artist and landscape architect – land/picture readers and land/picture planners/creators; The landscape of mine – viewpoint of the open-pit and desolated village Debina as new, open gallery spaces for unconventional modern art – alternative strategy of development for BOT KWB Belchatow S.A terrains and the whole region.

From the view of further landscape architect and artist modelling the land of the Belchatow mine is a remarkable challenge. In our collaborative work using art in landscape reading and planning as a medium, a symbol itself completes the craft of management and arrangement of the open-pit mine in Belchatow, ‘cause the art may show its new energy, not only the one gathered from coal…’
Aleksandra Idziak-Brown