I took photographs of wax figures at one of the local wax museums in Poland. I chose women-celebrities, or rather their wax copies – imperfect, lifeless, artificial, and yet evoking a vivid, emotional response in the viewers. Viewers usually judge the resemblance of figures to real ones, but is it possible when we deal only with media images, borrowings and our own imaginations woven from the images provided to us?
I made classical portraits, using light and frame in such a way as to fully abstract the wax figures from the context of their function and the character of the place in which they are located.
I then turned to editing. I worked on very close-ups, pixel by pixel, filling in blind spots, gaps, artificialities. I added parts of my face to the photographs I took. I transplanted skin, eyelashes and eyes. I’ve been working for a long time not to be visible, but to be present in the hybrids that emerge, to add the elusive but crucial change that makes the image begin to be ‘in-between’, flirting with the uncanny valley hypothesis.