Kasia Ozga

January 24 to January 31 2022

Melt, Digital Video Diary, Aurora, New York, January 2022

I was making paper for a wall drawing for a show in Upstate New York and the steam from the boiler and the hum of the beater began to slowly melt the snow and ice on the outside of the greenhouse that I was working in.

January 10 to January 17

Figure 4, Squier and Davis, Ancient Monuments of the Mississippi Valley. 1848.
Black River, Digital Photograph, 01.08.23

I am working on a series of sculptures and installations informed by the sacred geometry and ancient works of the Hopewell, a network of precontact Native American cultures that flourished in settlements along rivers in present-day Ohio and beyond, in the Middle Woodland period (ending around 500 AD). This photo was taken from a pilgrimage to a site in Sheffield Township identified in the Smithsonian Institution’s very first publication, Ancient Monuments of the Mississippi Valley (Squier and Davis, 1848). Some of the earthworks mounds produced during this time are larger and more precise than Stonehenge, even though most have been almost completely eroded by the passage of time and plowed and paved over by white European settlers. The site identified in Lorain County is no longer discernible to the naked eye. The works occupy precise spaces and situate themselves in relation to specific moments in time (often in relation to lunar cycles).

Maybe searching for them will also ground me in the present.

January 1 to January 8 2022

Anemone, Video Diary 12.30.22

Sea anemones are underwater creatures named after terrestrial flowering plants. A ring of tentacles surrounds a central mouth, brimming-no-gushing with life. This movement is uncanny and erotic, pulsating and repulsive. A fitting entrance into a New Year.

December 20 to December 27

Mark-making 1, Digital Photograph, December 2022
Mark-making 2, Digital Photograph, December 2022

These fleeting lines in the snow are random, unintentional, unmakings. They appear as I lift up twigs and branches on my lawn, just one half of an X. They will soon melt. Or be blown over by gusts of wind. Or get trampled on by tiny feet. They could be traces of something I stumbled upon. I can give them my attention or ignore them completely. They are lines made by pulling things away from and outside of their surroundings.

November 29 to December 6

Thanksgiving, Digital Video Diary, November 2022

I drove home for the holiday for the first time in fifteen years. 
Shot on Lake Michigan in Wilmette, IL on “Black Friday”.

November 16 to November 23

Goal, Digital Photograph, 2022

I am continuing to explore fog in my photographs. This growing series of images depicts a kind of atmosphere that is at once present and impossible to grasp. A low-lying cloud that also clouds our vision, fog makes the familiar mysterious, even impenetrable, and invited us to reconsider simple, common locations, in a new light.

November 8 to October 15

Preserve, Digital Video. Duration: 1 minute 21 seconds.

There is a tall-grass prairie preserve near where I live. In 2015, the Western Reserve Land Conservancy acquired a 63-acre property on the southern edge of the City of Oberlin in Lorain County. The preserve is part of the Black River Watershed and originally belonged to the Copeland family, which was actively involved in the abolitionist movement and the fugitive slave assistance network. The spirit of John Anthony Copeland lives on in this place.

October 5 to October 11

Milk Bar, participatory art installation, 52 bars of soap produced from breast milk, September 25-30, 2022.

In September, I flew to France alone for a week to hang a solo show Œkoumène (Ecumene) at l’Angle, an art center in La Roche-sur-Foron in the Alps. I have a 9 month-old baby that I usually breastfeed multiple times a day. I collected all of the breast milk that my body produced as I was preparing my exhibition and turned it into soap. The bars of soap were given away for free to the public during the show’s opening night. My action came from a desire to foreground the relationship between my body right here (right now) and the neutral white cube of the exhibition space.

September 28 to October 4

Pacific, Digital Photograph, 2018

This photo was taken on Bainbridge Island, WA near Port Madison, in 2018. I have been interested in images of bodies in water for a long time, and seeing the Crown Letter images last week gave me the idea to respond with this photograph.

September 20 to September 27

Greenhouse, Digital Photograph, 2021

June 21 to June 28

Goddesses, Digital Photograph, 2022

March 1 to March 7

Ukraine, August 26, 2007

Kasia Ozga is a Polish French American sculptor and installation artist. Her work explores evolving notions of physical presence by addressing issues such as waste, (im)migration, environmental justice, and bodily integrity. Ozga is a former Kosciuszko Foundation Fellowship recipient, Harriet Hale Woolley grantee from the Fondation des Etats-Unis, Jerome Fellowship recipient at Franconia Sculpture Park, and Paul-Louis Weiller award recipient from the French Académie des Beaux-Arts. Her work has been exhibited in over 10 different countries and she has participated in residencies in Europe and North America including Shakers, Nekatoenea, Pépinières Européennes de Création, ACRE, and KHN. Currently a Visiting Assitant Professor of Sculpture at Oberlin College, Ozga holds a Ph.D. from the University of Paris 8, an M.F.A. from the Jan Matejko Academy of Fine Arts in Krakow, and a B.F.A. from the SMFA at Tufts University, Boston.


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