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Zosia Zoltkowski is an interdisciplinary Polish, first generation Australian artist; researching, creating and collaborating across mediums of painting, performance, installation, sculpture and video. Her site-specific executions aim to create a synergistic relationship between viewer, performer and space. Relying significantly upon her intuition and the process of ‘play’, Zosia explores ways in which to re- connect, re-tune and re-engage with the natural environment around her and her past. Through her art making, a perspective into ‘the way of being’ amidst all senses, extends beyond artistic aesthetic and moves towards a non-hierarchical, co-dependent alignment, between nature and human.

For the past four years Zosia has traveled, lived and worked globally, amongst communities and networks of people, from remote places to urban dwellers. This has fuelled her creative practise and a curiosity for the human condition, collectively with the act of being ‘present’. These engagements of transversality, generate unexpected and continually evolving situations in her life, probing her fascination towards places of discomfort and states of vulnerability. Together, her immediate environment and body act as conduits towards decolonising ‘ways of being’, and respond to the current state of the world.

To Become, 2020 Photo To Become, intends to magnify women's connection to the natural world and our synergistic relationship with it. By immersing the female body within the rock landscape, feelings of contentment, resilience and story begin to arise. We have all experienced the state of "being present" in a natural landscape and the beauty that it bears. The woman in this photo is my darling sister. My sister lays comfortably amongst these formations that cradle her body, becoming one with the land. Connection to place is vital in forming ones identity, and this place has become very sacred to her. This shot was taken on the cliffs within the Royal National Park in Sydney, Australia where First Nations Australian women, specifically the Dharawal people, walked and cared for the land.
To Become No.2, 2020 Photo To Become, intends to magnify women's connection to the natural world and our synergistic relationship with it. By immersing the female body within the rock landscape, feelings of contentment, resilience and story begin to arise. We have all experienced the state of "being present" in a natural landscape and the beauty that it bears. The woman in this photo is my darling sister. My sister lays comfortably amongst these formations that cradle her body, becoming one with the land. Connection to place is vital in forming ones identity, and this place has become very sacred to her. This shot was taken on the cliffs within the Royal National Park in Sydney, Australia where First Nations Australian women, specifically the Dharawal people, walked and cared for the land.

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United Kingdom
London
Photography Project about Obsession, Pleasure and Femininity.  My aim is to create a scene that captures or creates an isolated moment of pleasure  These scenes are constructed through an exaggerated, surreal and bizarre  performance.
Germany
Waldenbuch
Blue chair figure study, from the series Alex and the blue chair, exploring body form and light in the interplay between a female model (Alex) and a shabby blue chair
Australia
Brisbane
Zosia Zoltkowski is an interdisciplinary Polish, first generation Australian artist; researching, creating and collaborating across mediums of painting, performance, installation, sculpture and video. Her site-specific executions aim to create a synergistic relationship between viewer, per...
United Kingdom
Hereford
Artist Statement ‘Old Wives’ Tales Pregnancy Myth’ This series is a tongue in cheek look at Old Wives’ Tales and when I became pregnant the second time I decided I wanted to play with the idea of myths. Often regarded as irrational, illogical and absurd stories that over the passing of time have...
Israel and the Occupied Territories
Givataiym
As a computer graphics artist I work in front of my computers’ screens, employing a variety of 2D and 3D digital graphics programs as my brushes, my palettes of paints as well as my cameras, with which I create my artworks. These are usually about fantastic realities, as if to follow Valerio Adami’s...

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