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.
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.
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.
Installation
(270kg of sand) 2016.
“Saudade” is a quiet elegy, a meditation on grief, memory, and the erosion of identity through public remembrance. Visitors are invited to move through a sandy field of transcribed commemorations for Dorothy Allard and Timothy Kolder, two individuals deeply connected to Tkaczyszyn, yet presented not through intimate recollection, but through the flattened, distant language of obituaries and tabloid memorials.
In choosing these mediated forms, Tkaczyszyn draws attention to the way personal histories are abstracted and sanitized when filtered through the public gaze. What remains is not the person, but a curated silhouette - an identity diluted, displaced, and ultimately unmoored from its source. The work questions what is lost when memory becomes spectacle, when mourning is reduced to copy, and when the language of grief is formalized into detachment.
Saudade also considers identity as something both territorial and temporal, vivid and embodied in life, yet fragile and easily rewritten in its absence. Through this work, viewers are asked not only to witness this slippage, but to become part of it. Their own footprints, impressions, and emotional responses are drawn into the space, blurring the boundaries between presence and disappearance, remembrance and erasure.
What emerges is a space of shared uncertainty, where loss resists closure and identity becomes a contested echo. In Saudade, mourning is not a clean break, it is a lingering presence, a trace that haunts the divide between the intimate and the impersonal.
Installation
(270kg of sand) 2016.
“Saudade” is a quiet elegy, a meditation on grief, memory, and the erosion of identity through public remembrance. Visitors are invited to move through a sandy field of transcribed commemorations for Dorothy Allard and Timothy Kolder, two individuals deeply connected to Tkaczyszyn, yet presented not through intimate recollection, but through the flattened, distant language of obituaries and tabloid memorials.
In choosing these mediated forms, Tkaczyszyn draws attention to the way personal histories are abstracted and sanitized when filtered through the public gaze. What remains is not the person, but a curated silhouette - an identity diluted, displaced, and ultimately unmoored from its source. The work questions what is lost when memory becomes spectacle, when mourning is reduced to copy, and when the language of grief is formalized into detachment.
Saudade also considers identity as something both territorial and temporal, vivid and embodied in life, yet fragile and easily rewritten in its absence. Through this work, viewers are asked not only to witness this slippage, but to become part of it. Their own footprints, impressions, and emotional responses are drawn into the space, blurring the boundaries between presence and disappearance, remembrance and erasure.
What emerges is a space of shared uncertainty, where loss resists closure and identity becomes a contested echo. In Saudade, mourning is not a clean break, it is a lingering presence, a trace that haunts the divide between the intimate and the impersonal.
Installation
(270kg of sand) 2016.
“Saudade” is a quiet elegy, a meditation on grief, memory, and the erosion of identity through public remembrance. Visitors are invited to move through a sandy field of transcribed commemorations for Dorothy Allard and Timothy Kolder, two individuals deeply connected to Tkaczyszyn, yet presented not through intimate recollection, but through the flattened, distant language of obituaries and tabloid memorials.
In choosing these mediated forms, Tkaczyszyn draws attention to the way personal histories are abstracted and sanitized when filtered through the public gaze. What remains is not the person, but a curated silhouette - an identity diluted, displaced, and ultimately unmoored from its source. The work questions what is lost when memory becomes spectacle, when mourning is reduced to copy, and when the language of grief is formalized into detachment.
Saudade also considers identity as something both territorial and temporal, vivid and embodied in life, yet fragile and easily rewritten in its absence. Through this work, viewers are asked not only to witness this slippage, but to become part of it. Their own footprints, impressions, and emotional responses are drawn into the space, blurring the boundaries between presence and disappearance, remembrance and erasure.
What emerges is a space of shared uncertainty, where loss resists closure and identity becomes a contested echo. In Saudade, mourning is not a clean break, it is a lingering presence, a trace that haunts the divide between the intimate and the impersonal.
Interactive Installation
(burrs, found objects) 2017.
“Collector” speaks to the overall sense of ownership between the items we choose to possess and identify with, and their overall contribution to the making of our individuality.
The work brings forth the opportunity to explore role-reversal as the original purpose of the burr has been manipulated and transformed. Accordingly, the burr has adopted a new identity as "the one that takes away".
Viewers are invited to consciously interact with the work by leaving objects of their choosing for the burrs to consume.