On this winter night, sitting by the fireplace, I feel like sharing some more thoughts, cause I’ll be gone for a while, and had never been good at answering questions I get on here or at any digital contact whatsoever… Anyways, it’s been some time, cause already in 2013, after having met Bianca Casady, cross-disciplinary artist of music duo CocoRosie, I gave an extensive interview that, along with my photos, was published in the second issue of the magazine Girls Against God, that she created in partnership with artist Anne Sherwood-Pundyk. If I was to answer these questions now, 4 years later, many of them would have been answered differently, some using less, other more words. But even after all the time that had passed since, these words will still put some landmarks in the landscapes I portray and invite you to travel through with me. Thank you everyone for joining me on this journey, with love,
’’The second issue of GAG—a pocket book of practical magic—investigates and celebrates spiritual healing, instinctually tying together the earth and women’s bodies. Through essays, fiction, poetry, interviews and spells GAG Issue 2 delves into the roots of occult earth wisdom passed through generations of women against persecution and patriarchy.
A boldly feminist exploration and multi-generational endeavour, GAG deploys the arts to illuminate the oppressive, obsolete nature of traditional, male-defined religions and other patriarchal institutions—“We must resist and reinvent,” Casady declares.’’
GAG kicked off at the 9th Annual New York Art Book Fair in 2014. You can still get a copy of it here
Who are the people in your photographs?
Karolina: These are different aspects of the feminine energy, taking form and telling stories. They are archetypes, and each figure bears a lot of symbolism for the viewer to decipher. Even if I portray a man, he represents a more intuitive, heart-centered, feminine part of himself. These personas understand the language of the birds, can see the eighth color of the light spectrum, they lived through snake bites, and they all well remember their star origins. Very often these photographs are my auto-portraits in a way. Each silhouette walking away, seen from behind, represents my nomadic urge to follow the setting sun, to always be free, to always stay on that self-rememebering journey.
The figures in the photographs seem to all belong to the same utopian world. They look like members of some imaginary nature tribe. Can you tell us something about these figures and the landscape they move in?
K.: They are Healers, Shamans, Cosmic Dancers, Weavers of Magical Realities, Wise Men, High Priests and Priestesses, Keepers of Divine Knowledge, Goddesses. They are all Free Spirits and they all live here. It is the reality where you can manifest your dreams instantly, with no fear, where looking inside the dark, spiralling vortex expands the consciousness. I let my spirit travel on its waves and it takes me to the center of the Galaxy. I know I cannot take anyone with me, it’s a solitary journey, it leads to the heart, but I can bring back some things here, and so I do. The most amazing things happen when I meet souls who have been where I’ve been too, or when I explore universes that are the core of their hearts. When we find each other, the recognition on a soul level is immediate. I feel thats’s why people share their worlds through art — when they find members of their star families, everything falls into place.
Is there some ritual or folklore you think our materialistic and secular culture is missing?
K.: Yes, there are two. One of them is opening all indigenous sacred ceremonies. Connecting your heart with the heart of Mother Earth and Father Sky is one of the most beautiful and important meditations. When the love it creates fills you, a very unique vibration enters into your spirit. Then you can feel the immense love for yourself, remember who you really are, and finally enter your heart. No meditation and no ritual can be performed properly without first establishing that connection. It’s called the Unity Breath. Just by practicing it, the most unthinkable miracles have happened in my life — images from my heart became real in no time.
Another thing would be if more people became aware of the real potential of the sexual energy they carry (that Egyptian Tantra speaks about, for example.) It’s been long forgotten, neglected by the churches that did not want people to use it. It is based on the electro-magnetic charges feminine and masculine energies possess (not genders.) Feminine energy is magnetic and masculine energy is electrical. The exchange happens on the atomic level, creating a frequency that opens consciousness to higher realms. Everything can be brought into existence from that connection, but the base of it has to be love, always.
Is there a division between art and life for you?
K.: For me there is no such a separation, and I just can not live in any other manner. But actually, my life contains more beauty and magic than any creation of mine will ever bear. Before I started documenting these things that happen to me, I’ve been making stuff and living like this for years, not calling myself an artist, it’s just a record of my life. It is up to the viewer to determine what is art. Nature and all that’s beyond it in the universe is the pure, real art that no art gallery, theater or museum will ever be able to host because our own, unique experience makes it the most special art for us. Maybe only music gets close to the mystery of it all.
How did you feel about making a show in an independent art space, can you tell us something about that experience?
K.: I never thought of making an art show, I just enjoy the creation process, grounding me in the present moment. What happens with it all afterwards does not interest me much, but because I was invited to make a show that would be followed by a week of my crystal healing sessions, I prepared a good healing space to perform it in. I thought that was a good idea. It was marvellous to meet so many beings in the heart center, and see their light and beauty during that week. The event itself was a four hour lecture on all these dimensions I communicate with, which was more typical for a traditional show.
Can you tell us something about your process? What inspires you? Do you speak to angels? Do they influence your creations?
K.: Usually I just feel like there are some things that are suspended somewhere there, waiting for someone to tune in and bring them to manifestation, so I am more a channel for things to take form through me than a creator. I know it could have been anyone, but it happened to me. Of course I get very inspired by the indigenous nations of different cultures, tribes who follow and respect the rhythms of the cosmos. Though the most profound inspiration are the moments of unity with all existence that bring me to an experience of eternity and purest love that I believe is the essence of each atom. I don’t have verbal contact with angels, but I see them as light orbs of different colors of light spectrum and beyond, and there certainly is a communication with worlds within, without, above and below. Spirits of nature, fauna and flora, minerals and these angelic entities show me around, explaining how things work. That is a communication based on a deep trust — listening that is hearing, looking that is seeing and feeling that is knowing.
Did you go to school? How did you educate yourself?
K.: I think that more useful for me was unschooling. I received a very strict, Polish education that kills individuality. After that I needed to erase from my head a lot of harmful data, but along the way I taught myself about everything just by observation of this reality and realities beyond the visible, sense-perceptible world. For example, all my knowledge about mathematics, astrophysics, or any new language I learn is just a download, without much of the learning process. And I have no idea about how to use sewing machines, weaving techniques, cameras, computers, mathematical formulas, grammar of languages I speak. I just get it and do it.
What’s your relationship to possessions and how does this express itself in things you create?
K.: I don’t normally feel attachment to my belongings or things I have created. The Universe knows about it, so my possessions often get consumed by different elements, or just disappear or reappear in the most bizarre circumstances. I often leave things behind or give them away. It’s good feeling to free yourself from objects; it gives more space for your self. Actually, just recently I worked in the forest for many hours, weaving on the looms I made on the flat tree trunks that were cut down. I left all my weavings there for them to experience the cycle of the seasons, growth and death, and just to be. It cheered up the forest too.
What personal dreams do you have for the future?
K.: I don’t know much about the future, I only want to stay happy and live from my heart, no matter the circumstances. I could be of better service to others. But maybe I will learn the language of some exotic birds and plants and fill my life with more of dance and music, rather than with this meticulous handwork, which taught me about the dimension of time.
K.: I use healing plants, communicate with animals, and have always had some cats. I’ve seen my thoughts manifest in front of me. I have healed myself from some serious stuff as a kid, heal others when I’m allowed. I have expanded vision, I follow the moon cycles. I live the magic, I make magic, I am magic.
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