Mirczak’s “Words” is an artist’s book exploring the relation between language and image through the frameworks of Gottfried Wilhelm Leibniz, Anna Wierzbicka and Carl Gustav Jung.
// SPECIAL SIGNS
A historical collection of tattoos held by the Department of Forensic Medicine at the Jagiellonian University in Kraków, dating back to 1872.
// TOOLS OF CRIME
The Tools of Crime series presents ordinary objects implicated in acts of death, foregrounding the unsettling agency of things within human relationships.
// BACKGROUND
“Background” examines the layered aftermath of post-war displacement in Poland’s western and northern territories, where objects left behind—furniture, images, domestic artefacts—form a persistent and uneasy cultural substrate. The project unfolds through two intertwined narratives: archival photographs drawn from public and institutional collections, and the artist’s own images documenting the present condition of these remnants. Together, they trace the shifting status — from traces of loss, through classified “post-German property,” to elements absorbed into everyday life—revealing how memory resists erasure and continues to inhabit material form.
// ABYSSES
In “Abysses”, a sleep profile derived from multi-channel physiological recordings — including EEG, EMG, ECG and breathing patterns — forms the basis of the work. Reworked into a spatial, multi-channel installation, the material unfolds as an immersive environment of sound and image, developed in collaboration with composer Rafał Zapała.
SONIFICATION / EYE MOVEMENT DATA / RAFAŁ ZAPAŁA 25.09.2015 #installation #sonification of the polisomnographic data, generative instrument, score/program created in Max/MSP environment, guitar, flute (frullato, overdrived), harp, percussion instruments # Kasia Michalski Gallery Warsaw
KATARZYNA MIRCZAK is a contemporary artist working across photography, installation and the artist’s book. Her practice engages visual archives, documents and bodily traces as material forms of cultural memory. Through montage, repetition and displacement, her work considers the image as a form of evidence, operating at the intersection of art, science and archival research. She works with what remains — when objects, bodies and systems leave behind traces that refuse to resolve into a single narrative.
mirczak.com 