From the very beginning, I decided to frame the totality of my work in the structure of four projects, or 'Circles'. Once I have fulfilled those Four Circles I will have finished my work and consequently I will abandon art practice. Each of these circles is a well-defined project, autonomous from the others. Yet they all share common areas that overlap. Each circle has its own name:
First Circle: Illusion
Second Circle: Disillusion
Third Circle: Truth
Fourth Circle: Death

First Circle explores the crossover between narrative literature and the visual arts. Narrative installations, sound pieces, video animations, and various publications display narratives, all of which stem from a central piece: an artist's novel called Illusion. In First Circle, what seems to be a coherent narrative turns out to be constructed by fragments of texts, images, and sounds from many different origins. In a similar way, the characters are also made of a patchwork of borrowed desires, ideas, and memories.
The development of my interest in narrative fiction led to the research project The Book Lovers. It is a research project about the artist’s novel, in collaboration with curator Joanna Zielińska. The central question of our research is whether a literary genre like the novel can be considered a medium in its own right within the visual arts, as video or installation could be. In recent years an increasing number of artists have begun to integrate their novels as a fundamental part of their visual art projects. Surprisingly, there is a lack of research on this subject. With The Book Lovers we are intending to create public awareness of this silently widespread artistic trend. The base of the project is the creation of a collection of artists' novels with a parallel online database, which is complemented with a series of curated exhibitions and public programmes, pop-up bookstores, commissions, and publications.

Second Circle explores the possibilities of using game as a creative method for the establishment of a performative bond with the spectator based on empathy, and the idea that complex notions can be grasped by means of accessible tools. At the heart of this project is a board game called Disillusion, from which a body of work stems (sculpture, installation, drawing, performance). I feel especially interested in the notion of game as an activity that requires a certain kind of participation. Game is a medium to generate meaning through experience. It is true that this kind of experience is artificially created and, when one sees a game from outside, can be easily considered as banal. But (and this is very important) in order to be able to understand a game, first of all – one must play it.

Fourth Circle an investigation about the origin of writing and literature, about the desire for posterity, death, and memory. It could be said that the entirety of my work is an exploration of the various aspects of writing, in one way or another. I consider art making akin to writing, in that both are expressions of a desire expressed in what I call fantasy of posterity, of one's name to be remembered in future memory, beyond one's death. In order to be realised, such a fantasy must consider the institutional context where art finds its place. Hence my interest in experimenting with the idea of an institutional setting that does not rely on writing. Engaging with the viewer by oral means implies a commitment with the contemporary audience. This idea may sound counter-intuitive against the notion of posterity, but it is precisely in exploring this apparent contradiction where I want to situate Fourth Circle: between the inscription and the action, between writing and speaking, viewing and thinking, between art making and history.