"In the Catholic church there are three classes of relics. The first class is body parts of a saint. The second class is things that belonged to a saint, objects they have used and surrounded themselves with. The third class relic is the object that touched the body of a saint. To create the third class relics, the small holes are drilled in the tombs of saints. The objects are lowered through the holes, and once they touch the corpse they are no longer everyday and mundane – they now become sacred" (adapted from Sarah Sentilles "draw your weapons", 2018) I carefully read countless myths and tales of meteorites from around the globe, many so ancient that their origins are lost to time. Some of them recount how cosmic rocks were sent by angered gods or even Satan, while others describe them being chained to the ground, to prevent their return to the heavens. I read of a meteorite that was ground into powder and consumed by those who witnessed its fall, believed to be a divine medicine sent from above. In many communities, these celestial stones became central figures, revered as sites of worship, grief, and sacrifice. Despite these countless stories and myths surrounding meteorites, modern Western science only acknowledged them as a scientific fact in the late 18th century, dismissing centuries of the countless reports as fictional fables, often created by the people like my ancestors - peasants, working long hours under the bare skies. Despite these countless stories and myths surrounding meteorites, modern Western science only acknowledged them as a scientific fact in the late 18th century, dismissing centuries of the countless reports as fictional fables, often created by the people like my ancestors - peasants, working long hours under the bare skies. Meteorites bridge the vastness of outer space and the familiarity of Earthly landscapes, challenging the binary divide between the ordinary and the sacred, the mythical and the true. "I saw a tree bearing stones in the place of apples and pears" explores the rock as a carrier of stories: a migratory body, a silent visitor filled with human projections and dreams. It questions who has been allowed to claim truths and who has been relegated to the realm of tales. It is a story on how some truths can only live subversively, woven into myths and tales, hidden from dominant narratives. This is a fantasy in which a rock, long seen as mute and voiceless, reclaims its voice to tell thousands of stories, asserting its place within history and imagination, challenging a simplistic and binary definition of representations of truth.

In mid-2023, experts from the Institute of Meteorology and Water Management recorded a new visibility record on Powidzkie Lake, 10.38 meters of water transparency vertically down. The largest lake in Greater Poland has thus been named the cleanest in the country. The basin is under a silence zone. It has a well-developed flora and fauna and has long remained a popular leisure and recreation spot. A parallel reality unfolds in the lake's immediate vicinity. Only a few kilometers away, in 1953 and during the Cold War, the Soviets commenced constructing a military airbase, and to this day, it remains Poland's most immense military airfield. A few years ago, the Pentagon revealed a top-secret Strategic Air Command Nuclear Weapons Requirements Study for 1959. Among the approximately 2,300 targets within the Eastern Bloc countries and China that the U.S. Strategic Air Command aimed to bomb with nuclear weapons should World War III break out also stands the Powidz airport. The target number was 0169-8629 5223-01750. It currently houses the 33rd Airlift Base, accommodating, among others, large C-130 Hercules transport aircraft. Powidz is also home to at least a thousand U.S. troops. In 2023, a new LTESM-C logistics and equipment complex opened on the land adjacent to the base for long-term storage and repair of U.S. Army equipment. So far, around 100 hectares of forest have disappeared for the base expansion, some of which lie within the Natura 2000 area and the Powidz Landscape Park. Wide roads and roundabouts capable of accommodating heavy equipment emerged in places that a few years ago only saw field tracks. Near the base, service points addressed to American soldiers open continuously. The MSA combat assets depot, DABS mobile airbase system storage facilities, and a BFS fuel depot are also under construction. Such investments have resulted in the Powidz facility becoming a vast aviation, logistics, and equipment complex and a leading European NATO base, certainly listed as a strategic target, yet obviously of a different superpower than before. The airport, the base, the forests, the surrounding villages, and the lake received a new number. The photographs were taken between 2021 and 2023 in the area of Powidzkie Lake in Poland. A photobook for the project was published at the end of 2024. The project was possible thanks to the funding from the budget of the Wielkopolska Region under the grant of the Marshal of the Wielkopolska Region in the field of culture.

The beginnings of the open-air historical performances staged by volunteers in Murowana Goślina date back to 2007. The script of the shows would change dynamically and their meaning gradually evolve: from interpreting local legends, to recalling episodes of regional events, to themes drawing on the national history. The year 2016, marking the 1050th anniversary of the Baptism of Poland, saw the premiere of The Eagle and the Cross, which recounted two millennia of Polish history. The performance continues to be staged, with only minor annual modifications. This season it will be seen by some 20,000 spectators, being the largest patriotic event of its kind in Poland.The authors of that open-air show draw pictorial inspiration from the paintings by Jacek Malczewski, Artur Grottger and especially Jan Matejko, using them as a point of reference. Ingrained in Polish collective consciousness, those images are brought to life through performative action. The events, symbols, objects, figures and gestures that make up the core of Polish national mythology materialize almost simultaneously on the outdoor stage. They are resurrected, embodied and re-enacted over and over again by an ensemble of amateur artists.Since 2020, I have been conducting anthropological research among the people involved in The Eagle and the Cross. My work has been concerned with the interactions between the volunteer actors and the events, characters and values of the imagined past. I try to explore the consequences of the situation where more than 300 people toil for several months each year re-enacting the canonical episodes in Polish national history. I wonder what place we occupy on the timeline when the past becomes a repository of repeatedly incarnated moral parables? How do we function in a community when the characters of the imagined pope John Paul II, children executed by the Nazis, the Virgin Mary, are played by a neighbour, a primary school classmate, a godchild, or a teacher? How are the meanings of time, history and the criteria of truth demarcated and established in this participatory action? What identities do we reproduce and actualize in such an action?The 2021 publication entitled History of Poland. Exercise Book vol. 1 was the first working recapitulation of that inquiry. It features photographs that capture the gestures of the actors during spring rehearsals for the show.

In 2022, I changed my perspective, playing in the shows with a small automatic camera hanging around my neck during the performances. It was provisionally camouflaged to keep it out of sight of the audience, but it was clear to the other performers and the organizers of the show that I was taking pictures. They were also fully aware that this was part of the research and artistic activities I was carrying out. Every second, the camera (1) recorded the reality of the show from the standpoint of the actor, (2) recorded events from Polish history as seen through the eyes of their participant, and (3) commented on the way we choose to lend meaning to the past in participatory action. History of Poland vol. 2, a photobook curated by Łukasz Rusznica, is based upon these images.

The "Trophia" project takes us back to the Precambrian era, when photosynthesis first occurred in the oceans. The central theme of the piece is chlorophyll, its sensitivity to light and the visualisation of the energy that gave rise to the first living cell and ultimately to everything that surrounds us. The project was born out of a desire to understand what life is, in order to understand and confront the meaning of extinction. I started looking for the oldest mechanisms that determined the evolution of life on Earth. I was interested in the moment when the sun, a destructive force, became a life-giving resource through the evolution of photosensitivity. As a photographer, I was fascinated by the ability of plants to perform photosynthesis – to absorb, retain and create new value from solar energy. The works attempt to capture, through visual language, the conditions on Earth that set the stage for the emergence of the life-giving primordial soup. For about 500 million years after the Earth formed as a planetary body, it was a lifeless period. I deconstructed the conditions that prevailed at that time – cosmic matter, water, electrical discharges, magnetic forces and solar energy photons. Photography was a pretext for imagining and experiencing these conditions, with my workshop, photography studio and theatre hall becoming my laboratory. Everything to a greater or lesser degree is sensitive to sunlight. We feel it directly, but also indirectly through its effect on the living and non-living parts of the Earth. Through its energy, all organisms are connected by a trophic network. Trophia tells the story of the sensitivity of materials, organisms, phenomena, but also the sensitivity of ourselves - to ourselves, others and more broadly to everything around us. The title of the project refers to the content of matter in the ecosystem. This system, consisting of living and non-living elements in relationship with each other, drives abundance and sustains life on earth.

"Anew" is a documentary project about the contemporary landscape of Lower Silesia – a region in Poland that passed into Polish hands after World War II. As part of the so-called Recovered Territories, the region has experienced the intersection of over a thousand years of history and the need to rewrite its identity, largely as part of an organised, propaganda effort. Settled by repatriates and migrants, multicultural Lower Silesia quickly became an important industrial center of the Polish People's Republic, and over time. also an important center of resistance against the communist government. A hotbed of cultural movements, Wrocław – the capital of the region – was demographically the youngest city in Poland. The changes of 1989 erased much of the industrial heritage, once again forcing a change in the narrative. Currently, Lower Silesia and its capital are a mosaic of mutually exclusive and overlapping historical narratives that represent, on a micro scale, broader, global problems. For the last 75 years, it has been at the same time an economic resource, loot that could be recovered by previous owners, a question mark, and a new home for those migrating from the East. What is it now? What is the sum of stories in the plural? After a long period of uncertainty about the future of this region, only the cataclysm of the Millennium Flood in 1997, according to Wrocław sociologists, was to highlight the development of the full identity of Polish Lower Silesia and its inhabitants, which was presented in the defence of the city against water. The topic of Anew is the shape of this identity. Everything that happened in Lower Silesia between 1945 and 1997 and later – from industrialization, the collapse of industry and economic and social changes resulting in one of the largest economic stratifications in the country, through the legacy of the alternative cultural scene having its roots in the 1960s, by clashing the myth of the origins of the city's multiculturalism with the growing communities of migrants from Ukraine, Belarus and Korea and new religious movements, constitutes the core of the project. Lower Silesia is an area with special conditions – the identity written from scratch by former repatriates encounters social stratification, changes in the landscape and labor market, and economic migration.