The Polish Melancholies series refers to historical traumas, symbols and national epics of my homeland.

 „ Melancholy, (…) it houses the joy brought to half and is partly doomed to transform into existential sadness. (…) Melancholy is born with a particular failure, one or many of them. (…) The world of melancholy is divided into two different spaces: the upper, ideal and utopian, and lower, daily and mundane one.”

Josef Tischner, Chochol Sarmackiej melancholii [The Mulch in the Sarmatian Melancholy].

A white horse (Horse and the Polish Matter, 2015) is one of the indispensable elements of Polish artistic iconography dedicated to military successes and the fate of the country. White lime paint was used to disinfect traditional vision of patriotism and clear the field for a new context. As Kamila Leśniak wrote in “V Land Art Festival” catalogue: “Whiteness of the scenery is not the result of a simple paint, but lime used for disinfection, also corpses. This is an attempt to disenchant the myth, clear the field for the new content (…).

Borderline’s (2016) concept is based on hardly visible social classes’ battle and puts light on Polish farmer’s history. The work reflects on the nature of historically unstable idea of fraternizing peasants with the masters (“Wesele -The Wedding” by S. Wyspiański) and its contemporary issues: different visions of patriotism and service for their country. Farmers tools painted white and coated with fluorescent pigment and by night they become a surrealistic part of a theatric battle scene.

The work Swing, One Cannot Swing On (2016) denies freedom and joy associated with the act of swinging. Two swings, white and red (colors of the Polish flag) are facing each other, bumping against each other and provoking constant collisions.