Portraits and Projections
The only light source in Ursula Sokolowska’s dark Automata photographs comes from the bright image projected onto a partial figure. The projections wrap around the contours of the subject and play across its surface, masking its inherent texture — as if tattooing the body with light. The patterns feel industrial, sometimes full of decay and rust, other times futuristic and robotic. Critic Jud Yaklit notes the figures have “closed their eyes, as though they are resigned to their transformative faces.” With a very low-tech approach, Sokolowska shows the indistinct line where humanity and technology meet.