Iza Tarasewicz

On a winter day in an eastern Polish village, three-year-old Izabela Tarasewicz built a fire for her friends in the family barn. It burnt the entire shelter to the ground, melting her father’s motorcycle collection and scorching all of the food supplies for the season.
Everyday as a child, Iza would observe her parents and grandparents build something from nothing and share it with their neighbours. It was deep communism politically, but also because of necessity.

When Iza’s father died in her arms, she quit studying physiotherapy, and started thinking about abstraction.
When Iza cut the umbilical cord of her niece, she closed a loop.
After studying sculpture for a number of years, Iza’s teacher had a simple suggestion: use materials and processes that you know. She thought of her grandmother.

At the opening of an early exhibition, Iza climbed onto her large sculpture to demonstrate how stable she had built it. She fell on her ass, permanently injuring her lower vertebrae. And then she woke up.
While at an artist residency in Georgia, the external bathroom building caught on fire. Unable to contain the flames, Iza’s host and friends took out their fishing poles and they all went fishing. When Iza visited San Francisco, a colleague gave her two options: meet with a curator who would show her fine dining, or meet up with another who would bring her to tranny bars and nightclubs. She chose the latter, and then married him.
At an Umbanda session in Brazil, an Orixa instructed Iza to eat her mom. She did


Iza Tarasewicz (born 1981 in Białystok) graduated from the Faculty of Sculpture and Performing Arts  at the Academy of Fine Arts in Poznań in 2008, and her works have gained significant recognition both in Poland and abroad. She lives and works in Kolonia Koplany, a small village near Białystok, where she grew up. She deals with sculpture, installation, drawing and performance, often inspired by rituals of rural labor and community. She has participated in numerous individual and collective exhibitions internationally. In 2016, she took part in the 32nd Biennale de São Paulo, the 5th International Biennale of Young Art in Moscow and the 11th Biennial in Gwangju, and in 2018, in cooperation with Centrala, she represented Poland at the 16th Architecture Biennale in Venice. She recently took part in the 40th EVA International – Ireland’s Biennial of Contemporary Art in Limerick. She is the winner of the Bayerischen Kunstförderpreise in the field of fine arts 2019 and the winner of the 2015 Spojrzenia Views Award of the Deutsche Bank Foundation, co-organized with Zachęta National Gallery of Art in Warsaw. In 2013, she was nominated for the Polityka Passport in the field of visual arts. Her sculptural installations take the form of modular, flexible, mobile, and reconfigurable display systems that combine a raw and modest functionalism with formal logics found in the natural world, agriculture, folk practices, and scientific experimentation, generating systems of material and energetic flows.