The Initiation, 2021, 17 x 13.5 inches, gouache on paper.

The Initiation, 2021, 17 x 13.5 inches, gouache on paper.

The Initiation, Detail

The Initiation, Detail

how does the viewer know how the subject is feeling in a photograph from the facial expression he is making? the person behind the camera says smile and the subject, especially if a child, does this without question. but the real emotion inside the subject is not captured - the anxiety, the sadness, even the overwhelming feelings of excitement can be missed by the camera and the pause that is gives. “the initiation” was created from this idea. two small boys smile while posing with their father, holding the antlers of a dead deer just having been hunted. what a traumatic experience this could play on a small child’s development. they were with someone they trusted, but still, they were told to smile at the camera, and they did. could the unconscious have experienced something else? In my piece faces are gone from the people because you don’t know what expression would reveal how they are actually feeling when they see this dead animal - you can fill them in as the viewer. What facial expressions would you see?

Deer on Plymouth 1958, 2019 Painted Paper Cut Out Collage on Paper (gouache), 18x25 inches.

Deer on Plymouth 1958, 2019
Painted Paper Cut Out Collage on Paper (gouache), 18x25 inches.

Josef & Francziska Podleszanski (great grandparents), 2015 Cut Out Paper Collage & Gouache on Paper, 23x19 inches.

Josef & Francziska Podleszanski (great grandparents), 2015
Cut Out Paper Collage & Gouache on Paper, 23x19 inches.

Most of these mixed media works are inspired from photographs that I found in my Grandmother’s collection of family photos after my father’s death in 2015.  They reveal a story never spoken to me about the generations of Polish family members that make up my family, and the ones who traveled from Poland to America to start a new life at the turn of the 20th century.  Josef & Francziska Podleszanski shows how my great grandparents may have felt like aliens, or may have been perceived as aliens, once having arrived to this foreign land.


Hunter / Hunted came from the obsession in my family with hunting, and furthermore, the long tradition of hunting in the Polish culture. Although some pieces are serious, like Deer on Plymouth, 1958, (My 16 year old father and his father killed those. I am not sure if that was my father’s first big kill), other pieces like, Mary Kraska & Albert Polashenski (Grandparents), are more playful, where their heads are on the table, like taxidermy, after being killed.  Polish Birds are the men in the family who hunt.  But I’ve transformed them into the birds….if they move, they will no longer be camouflaged.  And this is survival of the fittest.

Mary Kraska & Albert Polashenski, (Grandparents), 2016  C-prints, Mixed Media Collage & Gouache on Paper, 19x16 inches.

Mary Kraska & Albert Polashenski, (Grandparents), 2016
C-prints, Mixed Media Collage & Gouache on Paper, 19x16 inches.

Catherine Benick On The Farm (Great Great Grandmother), 2016 C-print, Painted Paper Cut Out Collage & Gouache on Paper, 22x16 inches.

Catherine Benick On The Farm (Great Great Grandmother), 2016
C-print, Painted Paper Cut Out Collage & Gouache on Paper, 22x16 inches.

Polish Birds, 2016 C-prints, Collage & Gouache on Paper, 30x22 inches.

Polish Birds, 2016
C-prints, Collage & Gouache on Paper, 30x22 inches.

Woman with Bird Mask & Black Bird, 2015,  Cut Out Paper Collage & Gouache on Paper, 18x19 inches.

Woman with Bird Mask & Black Bird, 2015,
Cut Out Paper Collage & Gouache on Paper, 18x19 inches.

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Polashenski Hunting Paraphernalia

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Sketchbook (2015 - Present)