“Lightmemory” is, for me, an imagined meeting between artists from two generations, working with different visual languages. On one side, I am a photographer and archivist at the Krzysztof Kieślowski Archives, looking at his work through my own sensitivity and personal history. On the other is a filmmaker absent in person, yet still present through images that remain alive and continue to generate new meanings. His work becomes material for reinterpretation, while light becomes a metaphor for memory – bringing images from the past into view, yet showing them differently each time.

For me, the archive is not only a place of work, but also a particular way of thinking about images and human presence. Its material dimension consists of documents, scripts, notes, photographs, objects – traces of someone’s life and work that can be catalogued. At the same time, there is a personal archive that cannot be contained within the same framework: intuition, associations, premonitions, memory, imaginings, emotions. My works take shape somewhere between these two dimensions – between what is material and what these materials allow me to experience anew in the present.

At the centre of my attention is the female perspective present in Krzysztof Kieślowski’s cinema, which I reflect on through work with my own body. My face remains recognisable, while at the same time becoming a meeting place for different realities and possible versions of the self. Particularly important to me are “The Double Life of Véronique”, “Three Colours”, “Seven Women of Different Ages”. I do not attempt to imitate the women in these films, but rather reinterpret their images through my own image, exploring what might happen when they are brought into the present.