Process:
Photography has been part of my life for as long as I remember. My father used his Soviet camera to capture my mother, my sister, and me, often ignoring our protests. I was his little model and assistant, helping him in the makeshift darkroom we would set up in our two-square-metre bathroom. Some of my earliest memories involve watching images slowly emerge on photographic paper, a kind of wonder I couldn’t name at the time. But even without the right words for it, I was captivated by photography’s ability to hold time in place, something that has stayed with me ever since.
When I started my studies at the Ostkreuzschule für Fotografie in Berlin in 2019, it felt less like a beginning and more like a return. From the outset, I understood that, to me, photography is not about capturing reality as it is. My practice has gradually moved away from the traditions of documentary photography and towards a more conceptual approach to making images. I treat photography as a visual language—one that allows me to translate and transform the world as I experience it.
This conceptual approach also shapes the way I handle materials and processes. I often distress prints through scanning, xeroxing, and layering—techniques that allow the image to reveal something beyond the surface. These interventions are not meant to manipulate reality, but to expose what lies beneath: memory, emotion, and the afterimage of experience. My work often draws from painting, linocut, and graphic design, blurring the lines between these forms.
Much of my subject matter is rooted in personal history. Dad (2019–2020) explores the world of my father, who lived with schizophrenia. Land (2021–) reflects on my Polish roots and the emotional landscape of my upbringing. Apostasy (2022–) examines the lingering presence of the Catholic Church in my life. Across these projects, photography becomes a way of confronting the past and telling its story.
Ultimately, it’s intuition that anchors my practice. Before I press the shutter, the image often arrives in my mind—as if photographing were an extension of seeing. That’s why I believe photography is not about precision, but about presence. It allows me to process experience, speak through images, and relate to the world around me.
Exhibitions:
1-4.10.2020 | SEMINAR 2019 [Conceptual Documentary class at Ostkreuzschule für Fotografie in Berlin] | Kunstraum Kreuzberg/Bethanien
25-28.11.2021 | DETOUR [Conceptual Documentary class at Ostkreuzschule für Fotografie in Berlin] | Kunstraum Kreuzberg/Bethanien
10-13.11.2022 | APORIA [Conceptual Documentary class at Ostkreuzschule für Fotografie in Berlin] | Kunstraum Kreuzberg/Bethanien
13-16.04.2023 | LAID BARE [Intimate Portrait class at Ostkreuzschule für Fotografie in Berlin] | Kunstraum Kreuzberg/Bethanien
24-27.10.2024 | MOVEMENT [Art Foto Mode Program] | Kunstraum Kreuzberg/Bethanien
19-22.06.2025 | VISCERAL [Werkstatt Berlin] | Culterim: Old Veterinary
Note:
What’s presented here is a concise edit from each project. The majority of photographs remain unpublished but are available to view upon request.
All images are protected by copyright and may not be downloaded, copied, or used in any form without prior written permission from the owner.
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