Bio (Last edited: June 2020):
I'm a Polish-Canadian artist living and working in Vancouver-Burnaby, the unceded homelands of the xʷməθkʷəy̓ əm (Musqueam), sḵwx̱wú7mesh (Squamish) and səl ̓ ilwətaɁɬ (Tsleil-waututh) Nations. I was born in 1992 and the internet was a new crazy thing. Pretty wild that I'm basically pre-internet and I'm only 27 (which feels equally old and young.) I have crippling self-doubt and I'm also an overachiever. I'm a full-time artist/student, part-time teacher, and occasional writer. I make art because it makes me happy, gives me purpose, and is a way to connect with others.
Artist Statement (Last edited: June 2020):
Through art, I work through themes of: environmentalism, LGBTQ+ identity, and pride/pleasure. These themes are presented through various media including (but not limited to) collage, drawing, painting, text, and audio. My style blends traditional western art with contemporary comic books as a means of teasing apart the relationship between “high” and “low” art.
During the summer of 2019, I decided to become a more eco-conscious artist and abandoned analogue painting and collage for digital mediums that produce less waste. In November 2019, I painted “Lioness” with my remaining acrylic paint on found fabrics as a means of honouring the materials and saying goodbye to them (particularly acrylic, which is essentially liquid plastic). Creating “Lioness” was a pivotal step toward reducing waste, celebrating queer identity, and empowering women and non-binary people to feel pride in their bodies regardless of their physical appearance (i.e. facial hair).
While I have moved away from creating physical paintings, the spirit of “Lioness” moves with me in my digital practice. Currently I am focusing most of my energy into “Phann’s (Mis)Adventures” (2019-Present), a queer-fantasy narrative manifested in digital forms, as well as digital collages about the quarantine experience.
Because I want my work to be accessible and playful, I use a de-skilled, child-like drawing style for most of the content. I also use collage and reference art history as a means of queering the past and making new meaning of old stories. Example: my collage “Just what is it that makes yesteryear’s taverns so different, so appealing?” (2019) playfully juxtaposes various moments in art history and contemporary art, depicting characters in the background engaging in "The Last Supper" while the two protagonists (Gladys and Phann) caress each other with shutterstock hands.
Forms of high pleasure, such as chewing on philosophical quandaries and engaging in heroic acts, are balanced with low pleasure, such as humour and sex. These forms of high and low pleasure are reflected in the high and low art hybrid.
My goal in art is to create a playful and safe space to discuss environmentalism and LGBTQ+ identities. While I have abandoned physical art mediums, I will continue pushing the boundaries of digital art and carving out a space for queer narratives in contemporary art.