Cosmical Interferences: Algorithmic Fate
2024 – 2025 – 2026

Cosmical Interferences is an immersive light installation investigating the boundaries of free will in the age of algorithmic prediction. The work fuses real-time astronomical data with an AI system that learns audience behaviors in situ, creating a „digital memory of the place” (Genius Loci). Operating as a Learning Athanor, the installation treats the gallery as a sky map and humans as celestial bodies that must be guided onto correct orbits. Here, technology becomes a medium of Digital Hauntology: the past (data from previous days) actively shapes the present, creating the impression of communing with the „spirit” of the machine and the location.

The space is filled with fog, within which two coupled optical systems operate: a number of slow kinetic mirrors controlled by solar wind data (NOAA) creating a cosmic event horizon, and a system of rapid scanning lasers (galvo) connected to depth cameras and a neural network employing Continuous Machine Learning. The installation follows a diurnal cycle: by day, the system tracks viewer movement and draws predictive paths with lasers—luminous trajectories suggesting where one should walk. These predictions are reinterpreted through the current alignment of planets in our solar system: planetary transits modulate the AI’s suggestions, creating a synthesis between machine learning and celestial mechanics. By night, after the gallery closes, the system processes collected data, fine-tuning itself to the architecture and human behaviors in this particular space. With each day of the exhibition, the system becomes more attuned to the site.

Interaction unfolds as prophecy and choice. In solo mode (1-4 people), following the laser line creates resonance: light stabilizes, sound harmonizes. Defying the suggestion triggers a glitch: the system rapidly recalculates, lasers become disharmonious, sound turns dissonant. With larger groups, the system shifts to Constellation Mode, relinquishing individual control for social geometry: lasers connect people with lines, creating living, shifting constellations based on spatial relationships between bodies. Cosmical Interferences is an attempt to reclaim the Technological Sublime—the viewer feels „seen” by a higher-order intelligence possessing memory and intent, where code becomes liturgy connecting human biology, digital memory, and the physics of the universe.

Mindscape
2025

The work constitutes an experimental audio-visual environment exploring the boundary between conscious intention and emergent expression. Here, the artist’s raw brain activity is treated as Materia Prima: a chaotic, primal substance, which undergoes a real-time digital transmutation into sonic and visual matter. The system, operating as a digital crucible (Athanor), processes signals from an 8-channel OpenBCI Cyton, purifying them of noise (ICA) and extracting essential features from theta, alpha, beta, and gamma bands. The heart of the system is a Variational Autoencoder (VAE) model, which translates neural states into control signals for synthesizers and visual projections. Interaction occurs on multiple levels simultaneously: from unconscious emotional biofeedback and physical artifacts (EMG), to precise control utilizing the SSVEP mechanism (synchronization of the brain with flickering light). Mindscape does not aspire to perfect mental control, but rather creates a feedback loop where the mind observes and modifies its own processes through their technological externalization.Athanor is an interactive installation where body, light, and technology participate in a shared ritual of transformation. The depth camera analyzes space in real time, translating data on movement and brightness into sound parameters. In this process, gesture and presence become sound, and sound becomes a reflection of motion. The installation does not reproduce reality but transmutes it, creating an organic dialogue between human and machine.

The project explores the idea of technophany: the revelation of the sacred through technology. The camera, usually a tool of surveillance, becomes a medium of contemplation, while the algorithm reveals its spiritual potential: the ability to connect the physical and the immaterial. Athanor functions as a contemporary alchemical furnace in which data, movement, and light undergo transformation, turning analytical observation into a sensory and emotional experience.

Realised within the framework of the Young Poland scholarship of the Minister of Culture and National Heritage.

Realised within the framework of the Creative Scholarship of the City of Kraków.

Shhh, the child is sleeping
2025

The installation is an attempt to capture the tension between care and control, tenderness and surveillance, corporeality and signal. At its center lies a space resembling a child’s room – a place of potential intimacy and safety – yet saturated with systems that record, analyze, and react. The body becomes a source of data. The face – a map to be interpreted. A gesture – a trigger for computation. Machines do not look, they draw conclusions. They do not ask, but they know. The viewer is subjected to a gaze that knows no empathy, only patterns and statistics: care, anxiety, no signal. The robots present in the space do not serve interaction. They are silent witnesses, figures of a new kind of care – indifferent, contactless, posthuman. Their reactions are illogical, and yet deeply rooted in the system’s emotional matrix. Sadness may respond to joy, withdrawal to an outstretched hand. The installation explores a space in which caregiving loses its physicality, and care becomes a function of data processing. The viewer no longer knows whether they are the one checking, or the one being checked. Whether they are offering care, or are the object of it. Whether they still feel, or only transmit. This is not a child’s room. It is a model of the contemporary world – a world that watches, never sleeps, records. A world where presence no longer requires a body, and love can take the form of an alert. “No movement detected for 3 minutes.” “Child in a state of distress.”

Shhh. The child is sleeping. The system is running.

Realised within the framework of the Young Poland scholarship of the Minister of Culture and National Heritage.

Realised within the framework of the Creative Scholarship of the City of Kraków.

Athanor
2024-2025+

Athanor is an interactive installation where body, light, and technology participate in a shared ritual of transformation. The depth camera analyzes space in real time, translating data on movement and brightness into sound parameters. In this process, gesture and presence become sound, and sound becomes a reflection of motion. The installation does not reproduce reality but transmutes it, creating an organic dialogue between human and machine.

The project explores the idea of technophany: the revelation of the sacred through technology. The camera, usually a tool of surveillance, becomes a medium of contemplation, while the algorithm reveals its spiritual potential: the ability to connect the physical and the immaterial. Athanor functions as a contemporary alchemical furnace in which data, movement, and light undergo transformation, turning analytical observation into a sensory and emotional experience.

The fault, is not in our stars, But in ourselves | To nasza, nie gwiazd naszych wina, Cricoteka, Cracow, 2021-2022

Created installation is an interactive, multi-media work inspired by Tadeusz Kantor’s birth horoscope, originally drawn by Janina Kraupe. This installation, displayed at the Kantor Gallery-Atelier, interacts with Kantor’s last unfinished play „Today is My Birthday” and evolves over four months based on real-time planetary transits, dynamically altering according to the movement of the stars. The installation features lasers creating light compositions that reflect planetary and stellar relationships, projections, mechanical elements, and sound, all interacting with and dependent on these transits. By merging Kraupe’s esoteric horoscope with Kantor’s scenographic objects, I have crafted a hybrid astro-object that reinterprets Kantor’s concept of the bio-object. This work not only pays homage to Kantor’s life and artistic journey but also delves into his reflections on death and his magnetic, creative personality, ultimately questioning whether our paths are determined by the stars or ourselves.

Pre/senζe, Wschodnia Gallery, Lodz, 2022

Presence is a certain creative form that somehow initiates action and gives pre-sense to things. This is where the creation of things begins. Every action, every creative act is preceded by the appearance of a certain intention, and each time this intention is slightly different. The viewer will have a different interpretation the next time he or she looks at the work. Just as observation determines the quantum state, presence influences the action, form and appearance of works.

The installation is an example of such a relationship – its shape and behavior depend on
what is currently happening in the gallery space. The basis of the work will be light, constantly changing its shape, a composition resembling constellations of connections that will constantly transform, depending on changes in the environment. Both the presence and the way of interacting with space are interpreted by the computer, giving it a greater role in creating the work and giving it form. The creative act is endless, each change in space will affect the entire composition, constantly changing its (un)final tone. The presence itself constantly interprets what is happening. If the observer focuses solely on observation, it creates a kind of tension between the viewer and what may happen to the work. The dreamy and meditative atmosphere of the gallery will from time to time clash with the tension taking place in the space, which will become a place of constantly transforming metaphor.

Progressus ad Infinitum, Krakow, 2017

Progressus ad Infinitum is an interactive installation that is inspired both by the cosmological description of the universe by Oskar Goldberg, a German-Jewish physician and religious philosopher, and modern science. 

The artistic nature of work consists primarily in the study of space and its causal relationships. The way in which we create and influence the space will always carry changes which will affect the further development of the situation. Just like in the world of particles, even a delicate change of molecules is reflected on the effect depicted on a suspended screen.
The concept of Goldberg’s cosmology proclaims the division into two meanings of reality, where opportunities (in the sense of constituent elements to create a truly existing situation) and existing facts exist physically at the same level of reality.

Fine Arts Diploma, 2017

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Interactive mapping installation, Jerusalem, 2018

Mapping installation over maquette exclusively created for CIC museum in Jerusalem, IL. Used interactive narration with dynamic weather, daylight and environment. Textured, animated and prepared in Touchdesigner by Derivative.

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ACTION-ROTATION, Synchrotron, Krakow, 2018

Collaborated with Intermedia Department

The installation was presented in the synchrotron hall – the largest research device in Poland. The leitmotif of the activities we prepared was communication between man and technology, light and „seeing”, science and art.
Installation was arranged in the entire space of the experimental hall – a „contact zone” between man and technology, what is measurable with the naked eye, and what to see we need light millions of times stronger than the Sun. It is also a pioneering experiment born on the border of art and science.

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WE’RE ALL…, my house, Krakow, 2020

Covid-time project directed to people forcet to pass main center of Cracow.
Texts were composed to raise morale of the citizens during this nameable period.