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	<title>Joanna Wierzbicka</title>
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	<pubDate>Fri, 29 May 2026 09:13:25 +0000</pubDate>
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		<pubDate>Thu, 06 Nov 2025 17:06:08 +0000</pubDate>

		<dc:creator>Joanna Wierzbicka</dc:creator>

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		<pubDate>Mon, 15 Feb 2021 20:24:11 +0000</pubDate>

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	Joanna Wierzbicka
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		<pubDate>Sat, 30 Jan 2021 16:29:03 +0000</pubDate>

		<dc:creator>Joanna Wierzbicka</dc:creator>

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		<pubDate>Sat, 30 Jan 2021 16:29:03 +0000</pubDate>

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		<description>Ideal&#38;nbsp;Associates®</description>
		
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		<pubDate>Sat, 30 Jan 2021 16:57:27 +0000</pubDate>

		<dc:creator>Joanna Wierzbicka</dc:creator>

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		<title>Internal Environments</title>
				
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		<pubDate>Fri, 29 May 2026 09:13:25 +0000</pubDate>

		<dc:creator>Joanna Wierzbicka</dc:creator>

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&#60;img width="1201" height="1800" width_o="1201" height_o="1800" data-src="https://freight.cargo.site/t/original/i/eec3113d8816b464999c55c2e5afb5580e0f33a7a24e2c9dfd5bc4558ada8b7d/Internal-Environments_1.jpg" data-mid="248881077" border="0"  src="https://freight.cargo.site/w/1000/i/eec3113d8816b464999c55c2e5afb5580e0f33a7a24e2c9dfd5bc4558ada8b7d/Internal-Environments_1.jpg" /&#62;
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	&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 

	
shown at Bliss Gallery, 2026, London, UK
curated by Domenico de Chirico


	
	


	
	
	



	
	
	


	
	
	

	
	
	

	
	
	

	
	
	

	
	
	

	
	
	

	
	
	

	
	
	
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		<title>Soft Gut Lining</title>
				
		<link>https://joannawierzbicka.com/Soft-Gut-Lining</link>

		<pubDate>Thu, 06 Nov 2025 15:20:55 +0000</pubDate>

		<dc:creator>Joanna Wierzbicka</dc:creator>

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&#60;img width="3722" height="2482" width_o="3722" height_o="2482" data-src="https://freight.cargo.site/t/original/i/ade4c678c7ece6f5b5656290df7e4cf65549c4faa6f165f625c8ba09ee5f9cda/JW006375-1.jpg" data-mid="240334279" border="0"  src="https://freight.cargo.site/w/1000/i/ade4c678c7ece6f5b5656290df7e4cf65549c4faa6f165f625c8ba09ee5f9cda/JW006375-1.jpg" /&#62;
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	&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 


	
shown at Jedna Dva Tri, 2025
Subterfuge, group show with Melle Nieling and Amélie Mckee curated by Edita Malina

In an age where conspiracy theories and technological paranoia permeate discourse, the boundary between justified concern and irrational fear grows increasingly blurred. These three artists probe this territory by presenting works that embody mechanisms of deception and surveillance. 
Melle Nieling constructs an elaborate fiction around a film that never existed, crafting its material traces, such as posters, DVD cases, and screenplay, until the phantom movie feels as real as any other film. Their practice reveals how easily we can be convinced of something’s existence through its artifacts, mirroring how the accumulation of information in the data age fosters conspiracies. 
Amélie Mckee’s proposed sculptures continue her ongoing investigation into antenna making and its peripheral subcultures. Drawing from both scientific research and esoteric traditions, her works present hybrid entities that reference orgonite artists and related cultural phenomena. Her chimeric technologies, part ritual object, part surveillance tool, embody our cultural fears about evolution and technological determinism. Mckee’s work renders visible the hidden forces of technology that drive our deeper emotional drives. 
Joanna Wierzbicka’s soft, flesh-like sculptures present bodies in constant adaptation, hovering between organic and artificial, familiar and alien. These speculative appendages, imagined for survival in hostile environments, give form to our collective anxieties. Like the fictional organisms of conspiracy theories, they suggest a future where adaptation becomes a kind of camouflage. Her holobionts blur the boundaries between self and environment, organism and technology, raising questions about what forms of transformation survival might demand in an ever-shifting world. 
Together, these works create a hall of mirrors where paranoia meets confirmation, where the tools of deception become the means of survival. The exhibition asks: in a world where everything can be fabricated, how do we distinguish between legitimate concern and manufactured fear? &#38;nbsp;

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		<title>Earthworm Fantasies</title>
				
		<link>https://joannawierzbicka.com/Earthworm-Fantasies</link>

		<pubDate>Thu, 10 Aug 2023 13:28:08 +0000</pubDate>

		<dc:creator>Joanna Wierzbicka</dc:creator>

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	&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 

	
shown at Project Octagon, 2025, London, UK
curated by Urte Janus&#38;nbsp;
text by Urte Janus

The ground beneath the city is warped with tunnel systems, some likely begun in prehistoric times,connecting to medieval passageways and intersecting with modern sewage networks and undergroundtrain tracks. During heavy rainfall, parts of this subterranean world flood, rainwater sweeping debris from the city streets into its unknown underworld. Some of the tunnels lead to chambers with beds carved into soft carboniferous limestone, underground churches and chapels chiselled by hand by the faithfulservants of a prehistoric god. These are painted in red and yellow plant dyes, with drawings of extinct beasts pierced by sharp flint spearheads beneath the caverns of forgotten, soft-stone architecture.
The underground cathedrals are now home to all sorts of outcasts, thinkers, anarchists, and political runaways seeking refuge in the subterranean realm. This is where we gather each full moon to performrituals of growth and multiplication, pulled by lunar gravity. We cannot be named as individuals, for weare many. You cannot name a multitude.
Of these underground insides, the lining is soft, like a newborn’s mouth, coated in fat drained from dinners into domestic kitchen sinks. New amalgamations of matter ferment in seeping, bubbling, fizzyfluid. Voices of the dead speak as they are transformed into an ever-growing, multiplying primordial soup.We are the soft membranes lining the walls of these tunnels, deposits of waste metabolised by wildyeasts and microbial mats, oozing from the ceilings in soft, jelly-like stalagmites. Empires vanish beneathour skin, a diversity of cells figuring out what form to take next. In decay, the powers of law, state, andreligion break down and ferment into the nutritious broth that feeds underground root systems. The misadventures of matter begin in the soft gut lining of an earthworm.
To give this a soundtrack: imagine trickling water, subterranean rivers, discarded words and drunkencries bouncing off walls thinned by water erosion. It is not easy to stay sober with ideas too dangerous fora hegemonic society. Hidden in the caverns of prehistoric shrines, these words coat pieces of rubbishthat refuse to decompose, waiting to be flushed back to street level by the next heavy rainfall.
Love dwells in the dampness as we digest, as the gravity of the full moon makes us amorous and willingto expand. Ambient auditory hallucinations are likely in the presence of toxic mould that feeds on bodily fluids laced with unknown chemical amalgamations. Tremors are induced by passing trains. The bloated underground stomach releases steam through street potholes.
If water has memory, does it remember every body it has passed through? The soft, salty entrails of prehistoric trilobites, the mouths of dictators, the intestines of the city. Does it know what is coming as it bathes the cells of newly mutated multicellular beings, as it is purified in treatment plants and putrefied inheaps of compost, as it shifts and swirls into the clouds?

*thank you to Wtórpol and Atelier Wama
	
	


	
	
	



	
	
	


	
	
	

	
	
	

	
	
	

	
	
	

	
	
	

	
	
	

	
	
	

	
	
	
</description>
		
	</item>
		
		
	<item>
		<title>Fictional Characters</title>
				
		<link>https://joannawierzbicka.com/Fictional-Characters</link>

		<pubDate>Fri, 02 Aug 2024 14:06:18 +0000</pubDate>

		<dc:creator>Joanna Wierzbicka</dc:creator>

		<guid isPermaLink="true">https://joannawierzbicka.com/Fictional-Characters</guid>

		<description>
	
	
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	Fictional Characters, 2026

	If you could grow a tail, would you? How would it affect your movement, your sensations, and the way you experience the world? Could it influence your relations with others? Could the tail serve as a mechanism of protection, detachment, or adaptation in moments of threat?


Inspired by body horror, the project takes the form of a sculptural installation. I work with dyed fabrics, second-hand clothing, wigs, and horse-riding equipment. The materials are sewn, dyed, and assembled into new forms.


The speculative concept of a human tail serves as the starting point, exploring blurred boundaries between human and other-than-human bodies. Drawing from animal studies and critiques of speciesism, I am interested in how imagining new forms of coexistence can challenge established frameworks. The human tail becomes a symbol of wildness, reflecting on complex relationships within post-natural environments.


The tails suggest half-human, half-animal figures that resist fixed categories. The tail becomes a sensory extension of the body, linked to instinct, wildness, and the often-overlooked back of the body.



	



&#38;nbsp;</description>
		
	</item>
		
		
	<item>
		<title>I may have bitten more off than I can chew</title>
				
		<link>https://joannawierzbicka.com/I-may-have-bitten-more-off-than-I-can-chew</link>

		<pubDate>Tue, 05 Aug 2025 15:23:00 +0000</pubDate>

		<dc:creator>Joanna Wierzbicka</dc:creator>

		<guid isPermaLink="true">https://joannawierzbicka.com/I-may-have-bitten-more-off-than-I-can-chew</guid>

		<description>
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I may have bitten off more than I can chew, 2023


“Mom says you become what you eat. Hence, I used to lick the meat&#38;nbsp;off the&#38;nbsp;fishbones of mackerel and&#38;nbsp;reassemble&#38;nbsp;them&#38;nbsp;into&#38;nbsp;the&#38;nbsp;shape it was in. The immortal world that I believe with many alternatives.&#38;nbsp;Ways&#38;nbsp;of&#38;nbsp;living,&#38;nbsp;farmed to table, nursed for&#38;nbsp;education, production for&#38;nbsp;consumption,&#38;nbsp;meal&#38;nbsp;per&#38;nbsp;person,&#38;nbsp;collective living.&#38;nbsp;Making&#38;nbsp;sense,&#38;nbsp;making asss sensing.&#38;nbsp; 


 ‘Think, dream&#38;nbsp;and&#38;nbsp;act&#38;nbsp;according&#38;nbsp;to&#38;nbsp;what&#38;nbsp;you&#38;nbsp;eat&#38;nbsp;and&#38;nbsp;drink.’&#38;nbsp; 
Recognized by futuristic movement, cooking and eating became subservient to the aesthetic experience, fetishized and fantasized upon layers of reality, a camera obscura in a moving castle. Life moments await me to capture, to preserve,&#38;nbsp;to&#38;nbsp;ferment,&#38;nbsp;for digestion.&#38;nbsp; 


Good gut&#38;nbsp;material.&#38;nbsp; 

Good cut&#38;nbsp;bacteria. 

Good Gut&#38;nbsp;bacteria&#38;nbsp;“
text by Ada Hao

I may have bitten off more than I can chew comes from an ongoing dialogue between artists Natalia Janula and Joanna Wierzbicka. Both of their work investigates bodily fragility and the ambiguous, often obscure connection between domesticity and technology, futurism, and decay. 


The Generation &#38;amp; Display show is open invite for a unique ‘dining’ experience featuring numerous culinary specialties. es, a cake with a tongue, kinetic fingers, moulding squishy forms.


Janula and Wierzbicka are interested in the edible matter and its ability to shape memories, rituals, communities which then become mutually transformative relationships between food and consumer. With a pinch of salt, they also explore food as poetic, metaphorical, discursive, nutritional, and sculptural material. 




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