is a projection series with live commentary that brings together recordings in video, sound and stills accumulated during 90-days of door-to-door "projection walk-ins" along the border of my home country.
Pole Field presented at the ICP, NYC, March 2009
In 2006 I was invited to make a work to be screened at Bristol IMAX Dome of Milton J. Rubenstein Museum of Science & Technology in a special project section of 2007 Syracuse International Film and Video Festival. It became Plany Mela, 2007 a hybrid of 90-second, round, Imax film from digital collage and live video.

I wanted to earn every pixel of it. It meant expanding every 1/72 of a screen-inch for kilometers by literally leaving the workbench and dragging myself from house to unknown house filtering human, animal and material fragments, listening to them closely to somehow fit them back into a screen mesh.
The shape was to be, from the start, contaminated by reality.

The resulting polyphonic structure of rotating rings and planes, often pulling in opposite directions, working and unworking anew, stuck with texture and color samples: crystals, skin and sky shards, fur or blinking lights, documented a process of geographically plotted yet otherwise quite open-ended field investigation.
It could only be produced after all lines connected, all suggestive moments were considered and diagnosed and trace-diagrams drawn as a transposed chronicle of encounters: of enthusiasm, rejection, joy, depression, real and performed feelings surfacing at their own clumsy rhythm.

the ROUTE and the OUTLINE -- like a high security encryption algorithm, developed dynamically, reinventing itself as it formed. I traveled alone, for three months, along the full-length of my old-country border (arbitrarily established after WWII), without ever crossing it or turning around, and entered, unannounced, casually-picked homes of strangers. Every doorstep seemed an ultimate destination: a ceremonial setting where known and unknown met.
the signal PROJECTION -- a “foot in the door” that helped me overcome the customary introductions was a sequence of my early movie-shreds projected, from a crown/helmet mounted on my head, onto any surface behind me. The handmade quality of my head-gear (foamcore stuck with tape and colored with blue sharpie) rendered the impression of technology I used ridiculous and disarming. I preferred to be laughed at than to intimidate.
the RECORDINGS -- video, images and sound were registered informally, as each encounter developed at its own pace, reflecting back the signal projection with singular voice. Often it was not me who held the camera or the microphone. Sometimes I would leave with just one image or a sound or a piece of cloth.
the COLLECTION -- of various exchange artifacts is assembled and displayed as a walk-in interior. It is organized according to geographical parameters of my route in a room in Warsaw. Whenever moved it leaves it’s own imprint as a wall tracing, offered to be re-interpreted by visitors (curently re-interpreted as a music score by a young local composer).
the VIDEO LECTURE -- an extended show-and-tell, accumulates and reassembles the collection of the various recordings. It is presented without subtitles primarily to insist on live commentary and to bring back the awkwardness of those "secret" encounters. It is also to register the fact that many who opened their border-zone houses to me spoke languages I could not understand myself. Those "minor languages" therefore should remain to question my own authority and authorship of materials, be allowed to interrupt or recede into ambience. With each presentation the sequence and focus of materials change as priorities are assigned to different elements, sensitive to incoming additions and losses.