https://www.katarinatkaczyszyn.com/works daily 1.0 2026-09-07 https://images.squarespace-cdn.com/content/v1/590a4cdd9f7456ef737948d0/1647277237098-GIFGPEBTSKORBA7JWA4S/01.KTkaczyszyn_Profiteor_2017.pdf.jpg works https://images.squarespace-cdn.com/content/v1/590a4cdd9f7456ef737948d0/1758484539037-C6QXHY73S56254Y266V5/tumblr_nzf7tdmORO1umiqeoo1_1280.jpg works - Interfaced Installation (Burdock burrs, chicken wire) 2014. “Interfaced” emerges from an earlier study into anthropochory: the dispersal of seeds through human activity. The work is composed of burdock burrs, abstractly arranged and installed to create a boundary that appears simultaneously accidental and intentional. Through this material intervention, the piece simulates the unpredictability and persistence of seed dispersal and confronts the abrupt ways in which human communication often unfolds in public spaces. By introducing an organic, slightly discomforting presence into a controlled, operative or “engineered” environment, Interfaced disrupts the familiarity of the setting. The work forces the viewer into confrontation: with nature, with the body and self, and with the subtle labor involved in navigating shared spaces. At its core, the piece engages the public sphere as both site and subject. It resists passive viewing, instead encouraging the passerby to acknowledge the tension between presence and avoidance, assertion and withdrawal. Whether interpreted as a symbol of persistence or intrusion, the work invites reflection on how we manage ourselves within the social, environmental, and spatial systems of human interaction. Interfaced proposes that human communication, like seed dispersal, is an ongoing negotiation; scattered, sticky, and shaped by proximity. In this process, symbiosis is not assumed, but constructed through the calculated choices we make when addressing and confronting others. https://images.squarespace-cdn.com/content/v1/590a4cdd9f7456ef737948d0/1611596706913-ND3GMGH1BKMDO1O6EN4G/image-asset.jpeg works - Profiteor Kinetic Installation (Fiberglass sheeting, epoxamite, 24V DC motors) 2017. “Profiteor” investigates the profound human impulse toward recognition, connection, and the assertion of presence and selfhood. The installation comprises two autonomous spheres, each powered by 24V DC motors, enabling self-directed, spontaneous movement within the shared exhibition space. The spheres navigate without external control, and their paths are shaped by the physical environment and their encounters with it. As the spheres move, their collisions with surrounding surfaces are amplified and transformed into sonic declarations. These sounds, sharp and immediate, convert otherwise unnoticed impacts into deliberate acts of communication. Acting as abstract proxies for living beings, the spheres perform a continual, embodied search for acknowledgment. Their kinetic choreography - marked by rolling, impact, and rebound, reflects the ways individuals assert identity and negotiate social presence through interaction, disruption, and resonance. Within this framework, detachment is reframed from neutrality to a condition laden with affective tension. The spheres’ simultaneous but uncoordinated movements evoke isolation, while their amplified collisions imbue the space with a charged urgency. Gradually, their mechanical agency takes on anthropomorphic qualities, transforming them into animated, attention-seeking creatures that challenge the boundary between the organic and the artificial. Profiteor situates itself at the intersection of object-oriented ontology, affect theory, and relational aesthetics. It invites critical reflection on how beings (human or non-human) construct identity and visibility within shared environments. The work foregrounds the performativity inherent in presence, where existence is enacted through gestures that seek recognition and validation. By framing this relational dynamic through mechanical forms, Profiteor opens a space for viewers to engage with the emotional and social dimensions of life and existence. The spheres become more than objects; they are active participants in an affective exchange that mirrors fundamental aspects of human social experience. https://images.squarespace-cdn.com/content/v1/590a4cdd9f7456ef737948d0/1788821270712-PMUNZZFFVDEHNVNIEVAM/Knowing+Jane+Doe.jpeg works - Knowing Jane Doe Painting (Oil on Birch Wood Panel) 2026. Knowing Jane Doe operates as an extended meditation on memory, projected grief, and the ethics of representational portraiture. The artwork is an extension of Dorothy, an earlier performance and installation that emerged from a singular, unconventional encounter: the wake of ninety-five-year-old Dorothy Margaret Allard, held on February 3, 2015, at Hulse, Playfair & McGarry Funeral Home in Ottawa. In this instance, the encounter between artist and subject occurred through the intimate and paradoxical circumstances of collective mourning. A translucent veil separates Dorothy, as subject, from the viewer, evoking the fragile threshold between knowing and not knowing. The portrait centres on a woman known only through an obituary and a funeral visitation, an individual briefly encountered, subsequently reconstructed, and ultimately remembered through fragments, emotional projection, and invention. Knowing Jane Doe reflects on the human tendency to fill existential gaps, to manufacture intimacy with strangers as a means of negotiating personal grief and trauma, and to transform absence and anonymity into sites of personal significance. It considers how, in the face of absence, memory begins to invent. The portrait becomes an attempted resurrection shaped by mourning, fixated longing, and an almost instinctive refusal to allow a stranger’s identity—or, more precisely, the interpretation and invention of one—to disappear entirely unnoticed, even decades after death. https://www.katarinatkaczyszyn.com/pagecv daily 0.75 2024-09-16 https://www.katarinatkaczyszyn.com/about daily 0.75 2024-09-16 https://www.katarinatkaczyszyn.com/contact daily 0.75 2017-05-03 https://www.katarinatkaczyszyn.com/pet-portraits daily 0.75 2026-09-10 https://images.squarespace-cdn.com/content/v1/590a4cdd9f7456ef737948d0/3e7fd3c2-021f-4efc-9434-cdb71c3c4406/Screen+Shot+2026-09-09+at+11.09.28+AM.png Commissioned Pet Portraits Jack (2016-2023) https://images.squarespace-cdn.com/content/v1/590a4cdd9f7456ef737948d0/1788973895995-MSUB0MOT4AZTDW7ONGZX/b9413326-fd44-4b20-ac2c-61f563c2dbb0.jpeg Commissioned Pet Portraits https://images.squarespace-cdn.com/content/v1/590a4cdd9f7456ef737948d0/1788973991760-8UBEZV9EPCYBAYN0FV5T/0c3c72f0-da36-478f-9492-5f4f5ec42608.jpeg Commissioned Pet Portraits https://images.squarespace-cdn.com/content/v1/590a4cdd9f7456ef737948d0/1788974583528-YOGF4CLG2X2Y7BY3HPNG/d615f8c8-001e-45ad-b29f-f17a9617b6b2.jpeg Commissioned Pet Portraits