2018, MA in Contemporary Art Practice - Critical Practice, Royal College of Art
The etiology of epigenetic scarring begins with trauma, however its transgenerational implications can breed an innate ‘schade’ or
shame which is far harder to trace. As global diasporas increase the intersectionality of cultures and countries— both crossing and raising borders in the minds of their hosts— and as accelerationism splits economic and subsequent social divides, and our online personalities and presences are stripped and used for parts, the scars that linger like genetic silt build subliminally into societal scarring, affecting entire social groupings, classes, races and religions. The cycles in which trauma is able to accumulate and build is never mourned. The present moment presses into future as the past drags into its next iteration, and we add our scars to the cycle, unaddressed, ready to hand down, a little heavier, to our children. Ostrowicz’s practice explores repetition and ritual as an iteration of, and potential nostrum for, trauma; using faint, fragile motifs, cut, sewn, drawn, folded or recorded, and repeating them over time to build up fragile and often consumingly large installations. Through the process of making, the artist develops her belief that it is the scars that bind us, to a place where it is again possible for repetition to soothe trauma, as well as create it.
Variable 50 cm x 120 cm
550 cm x 500 cm