All of the pieces evolved from leftover materials found in the artist’s studio. The Clay Body Protocol series features ceramics molded from the artist’s boy and juxtaposed with industrially-produced shelf brackets and supports. Begetting, A series of sewn small-scale watercolours includes silhouettes of the artist’s pregnant body. Another series of larger, flat painted works on paper (Foliated) was produced from leftover stencils from a recent public art project. A triptych of images juxtaposes poured paint on canvas and recycled printed photography on vinyl and the last series in the show, Nothing to See Here, includes barely legible black-on-black sewn drawings of immigrant detention centers and camps housing Latin American immigrants in the US.
By re-using and re-appropriating materials and imagery from her personal life, her artistic practice, and from the mass media, Ozga explores how and why we foreground our origins within larger discussions of national identity and belonging.
Artiste d’origine polonaise-américaine travaillant dans divers médias, Kasia Ozga explore d’où nous venons et vers quoi nous nous dirigeons. Elle présente ses derniers travaux issues de la série Clay Body Protocol à partir de restes de terre cuite, de peinture et de tissu, des dessins de la série Foliated et des dessins cousus sur papier et textiles (Begetting and Nothing to See Here). Elle évoque des lieux de passage et le devenir en représentant alternativement des empreintes et des représentations des corps des immigrés, y compris le sien.
