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Sonia Górecka

textiel , spiritualiteit , installatie , Grafiek , Experimenteel , Digitale technologie , Digitaal , Design , cross-over , Conceptueel , Artistiek onderzoek , Archieven

Sonia Górecka is a visual artist and multimedia designer who explores modern translations of the aesthetics and meanings of local heritage through various forms of remediation, bridging the gap between analogy and digital realms. On a daily basis, she works with textile, image-making and various software-driven visual experiments, often incorporating augmented reality and 3D environments. She is part of two art collectives. 'Texpol' is a group of eight female creators exploring the place and meaning of textiles in the fields of art and design. (www.texpol-grupa.com)
'Tajny Stryszek' is a group of three female artists focused on universal stories, translating them into contemporary meanings.

22.86 × 11.43 × 11.43 Viewing Conditions
22.86 × 11.43 × 11.43 Viewing Conditions, video installation - 22.86 × 11.43 × 11.43 is a space for artistic dialogue established by Matteo Bettini and Sonia Gorecka in 2023 and continuing to the present day. The project traces the history of an erratic boulder located at the foot of Mottarone in the north-western Alps. A natural landmark and spiritual site, the boulder was gradually dismantled over the last century for the extraction of its valuable pink granite. Today, only its name on maps, fragments from the cutting process, and traces within local memory remain. Erratic boulders, rocks displaced from their original geological context, have long been surrounded by myths and stories attempting to explain their unusual presence and movement. Through archival material, geological research, microscopic imaging, and conversations with local inhabitants, the project explores the changing material and cultural relationships surrounding the lost formation. Viewing Conditions is a video installation developed by Matteo Bettini and Sonia Gorecka during the -1 residency. Through microscopic imaging, the work examines the granite at a crystalline scale, using one of the few surviving fragments of the original boulder as both subject and medium. The installation reflects on the parallel between cutting stone for extraction and cutting it for observation, considering seeing and measuring as preconditions for different forms of value production. While one produces material value and the other scientific knowledge, both transform the stone through acts of division. Rather than recovering the lost landmark, Viewing Conditions proposes another image of it, treating the stone as an optical interface through which its hidden structures become visible. Project developed together with Matteo Bettini during the Minus One Residency at Het Nieuwe Instituut.
Two States of Home, curtain – diptych, screen print on fabric, 170x300 cm, 2026
Two States of Home, curtain – diptych, screen print on fabric, 170x300 cm, 2026 - The work grows from the experience of home as the first space we come to know. By day it is calm, almost transparent in its ordinariness. By night, however, it changes: it thickens, and from its interior emerge images of the subconscious and threatening presences. The curtain acts here as a thin membrane between worlds – a trembling boundary through which passes what is difficult to name. It becomes a surface of projection onto which familiar elements of reality begin to shift unsettlingly, to magnify and transform.
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22.86 x 11.43 x 11.43 - Jacquard-woven pieces - 18 jaquard weaves in different sizes, 2025. The ongoing research focuses on a rock formation in northeastern Piedmont, measured at 22.86 x 11.43 x 11.43 meters. This rock vanished from the landscape at the end of the last century after it was cut to extract its valuable material. Today, it exists only through dispersed urban artifacts and as a name on a map, marking where it once stood. Through retracing the rock's existence, the project aims to reinterpret the complex relationship between local inhabitants and nature, its capturing layered significance: from an untouched natural artifact to a sacred monument, and its transformation into an exploitable and measurable resource. The tapestries preserve and reinterpret the story through new interpretations of archival materials, local legends about the rock, its Google Maps location, panoramic views and other elements. Self-initiated project together with Matteo Bettini. My role is shared and included: concept development, research of archive, field research, textile design Supported by crowdfunding and matchfunded by Het Cultuur, NL.
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Who, are you Marzanno? - workshop - Texpol group workshop, Ujazdowski Castle Center for Contemporary Art, 2025. Who are you, Marzanno? Dziewanno, Mrozanno, Marzanioku, Smiertusko, Smierciucho? Spirit of winter, sign of rebirth, a folk reminder of the cyclical nature of the world? A joyful celebration of the intertwining of death and birth, a goodbye to the days of winter? During the workshop, we will examine the Slavic tradition of creating Marzanna and reflect on what it means for us today. How can we transform this custom to make it more relevant to contemporary times? We created small forms depicting various representations of Marzanna, using both traditional materials and reclaimed ones—giving them a unique character and intent of bidding farewell to the winter experiences in the name of spring renewal. In the end, a collective sculpture was created, consisting of many versions of small, individual Marzannas. My role is shared and included: concept development, research, preparation and facilitation of workshops.
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Blended Fibers - 3D <-> 2D experimentions, self-published art publication, 2024 - 2025. Exploration of 3D shapes of various cross-sections—tiny units that can be observed and studied to reveal a material’s key characteristics. These small cross-sections are commonly analyzed in fields such as archaeology, criminology, material engineering, and environmental studies. The process of experimentation and the resulting book serve as a visual research project, examining textiles at different scales and exploring the transition between 2D and 3D perspectives—and back again. We chose six fibers: wool, cotton, flax, silk, viscose, and acrylic. Project created thanks to the Building Talent Grant in collaboration with Laura Luchtman / KUKKA Design. My role was shared and included: technology research, archival research, learning new 3D tools, experimentation, and book design.
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Slavic phantasmagoria. Orphanage of meanings. - Jacquard weave - Installation; jaquard weave 150 x 175 cm, 70 bricks, sound, 2023. In the face of continuous geopolitical destabilization in the Slavic lands, even the faintest trace of thought or a discarded drawing fragment can carry magical and redemptive powers. 'Slavic Phantasmagoria' is a project that seeks to reacquaint us with lost and found motifs and symbols, picked from old books with depictions of Slavic folklore, by morphing and materializing them into contemporary totemic objects. My role included: research, concept development, textile design, brick design / laser cut sound in collaboration with Thomas de Rijk with vocals from Slavic choir '”Glosno” (Jakub Skrzypek, Marta Buchner, Maria Luba, Zuzia Mazzoll).
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Kasztaniaki * - Little sculpture, chestnuts, twigs, little rhinestones, 2024. Spoken truths: Scientific, grandmotherly, internet-based; “At home, chestnuts serve a decorative function — they adorn autumn centerpieces or, placed loosely, fill shelves in the living room or kitchen.”, “It has been proven that chestnuts can absorb radiation emitted by devices such as televisions, phones, and computers.”, “Chestnuts on the windowsill act as a natural, homemade repellent for uninvited guests. Their scent effectively discourages insects and spiders. Simply score them or cut them in half and place them on the sill. Freshly collected specimens work best.”, “Dowsers claim that when placed in the right spots, chestnuts absorb negative energy from underground water veins.”, “Chestnuts hidden under the bed are said to solve the problem of insomnia.”,“Chestnuts function as natural neutralizers, drawing in negative energy from the surroundings.”, “It’s worth remembering not to overdo it. Chestnuts should be kept for no more than three months.”. *Chestnut creatures
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Slavic Doodles - jaquard weave 150 x 175 cm, 2022. Aim of the project was to create a digital appearance of a tapestry within the physical world. Textile utilized special materials, allowing it to interact with light in a manner resembling the screen. This experiment extended further by seamlessly integrating the physical tapestry into a gaming environment through an extensive, high-detail scanning process. This scanning allowed for the close examination of intricate details, down to the level of individual threads within the tapestry. This experiment facilitated the observation of the material’s modification into a glitched digital representation. The transformation served as reflection of the texture, color, and luminosity inherent in the textile. By pushing the limits of what traditional textiles can achieve, the project questions its own materiality. Patterns of the textile piece refers to futuristic yet mystical, primitive symbols inspired by Slavic folklore. Many of these motifs were initially drawn in 3D using Oculus Quest (VR) technology, subsequently translated into 2D patterns woven by a machine. My role was included: research, concept development, Unreal Engine / VR environment development, digital scanning, textile design.
Cuda Wianki
Cuda Wianki* - 3D envrioment in Unreal Engine, 2023, Drawing from new materialism as an ontology, a 3D interactive digital landscape has emerged, becoming a common ground for the post-Slavic imagination. As you navigate this enchanting world, you will uncover and collect lines from an AI-generated poem that aims to capture stereotypical Slavic commonalities. While wandering and becoming lost in this digital space, questions arise regarding belonging, revealing the complexity, confusion of meanings, and unconscious spirituality associated with what is Slavic today. The installation implies the role that local, historical representations, and references could play within today’s digital culture. My role included: research, concept development, game development. Sound in collaboration with Thomas de Rijk with vocals from Slavic choir ‘”Glosno” (Jakub Skrzypek, Marta Buchner, Maria Luba, Zuzia Mazzoll), AI generated poem reads Alissa Guillouet. *miracles of wreaths
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Charismatic Megafauna - jaquard weave 150 x 175 cm, 2022. This project is the fruit of a collaboration with EE labels (NL), a company specialised in the fabrication of jacquard woven labels. The tapestry investigates the heritage of the company through the use of its archival material as a main resource. The highly decorative and precious character of the jacquard woven pieces represent the realm of luxury and exoticism through different periods of time. In that perspective, we extracted repetitive symbols of charismatic megafauna that embrace this aesthetic: leopards, camels, lions, rhinoceros, to name a few examples. With the use of new technologies, more specifically AI, we merged the chosen labels into a new visual imaginary. By integrating the method of AI into the process of making, we examined the traditional weaving technique with all its constraints and capacities. In collaboration with: Paul Combel, Alissa Guillouet. My role was shared and included: research, concept development, partly; AI processing, archive reseach, design.

1 Demo, Residance Showcase 2026

Datum:
Locatie: -1 Digital Lab, Het Nieuwe Instituut
In samenwerking met: Het Nieuwe Instituut

Always Container, Sometimes Contained’, Rotterdam, [NL], 2025

Datum:
Locatie: Oud House
In samenwerking met: Oud House, CBK practical Contribution Grant

Exhibition

‘Where do you live? Did you leave a piece of yourself in every room you slept in, pack yourself into a suitcase every time you moved, turn a house into a keepsake even if you couldn’t keep it?

https://rotterdamarchitectuurmaand.nl/en/programme/item/always-container-sometimes-contained/

La Casa Magica, [IT] 2026

Datum:
Locatie: Nilufar Gallery
In samenwerking met: Milan Design Week

Exhibition

https://nilufar.com/casa-magica/

przedpokoje, texpol, [PL] 2026

Datum:
Locatie: Sezon Gallery

Exhibition

https://texpol-grupa.com/sezon

To The Horizon, [PL] 2026

Datum:
Locatie: Aspekty Gallery

Exhibition

https://www.aspektygallery.pl/wystawa/po-horyzont

Uncanney Valley, [DE] 2026

Datum:
Locatie: Heim Textil

Exhibition
part of Alcova Milano Trends 26/27

https://www.alcova.xyz/collabs/alcova-heimtextil

18th International Triennial of Textile, Łódź [PL], 2025

Datum:
Locatie: Central Museum of Textiles

Exhibition

https://cmwl.pl/public/informacje/18-miedzynarodowe-triennale-tkaniny,424

‘IF / THEN’, Warsaw [PL], 2025

Datum:
Locatie: Ujazdowski Castle Centre for Contemporary Art

Exhibition

https://www.e-flux.com/announcements/6784366/je-li-to-if-then

‘Les Chants de Maldoror’, tajny stryszek, Fringe Warsaw [PL], 2025

Datum:
Locatie: Association of Art Historian
In samenwerking met: Association of Art Historian

Exhibition

https://www.instagram.com/tajny__stryszek/

,Equinox 2025’, texpol, [PL] 2025

Datum:
Locatie: Nowogród village, near Golub-Dobrzyń

workshop with texpol, making equinox attire

http://www.texpol-grupa.com

Comune Object, [IT], 2025

Datum:
Locatie: Milan Design Week

Presentation of two of my artworks: 'Slavic Phantasmagoria' and 'Slavic Doodles'
– jacquard tapestries, 150 cm × 175 cm.

https://www.instagram.com/comune.obj

Emergence, Genova [IT], 2025

Datum:
Locatie: Palazzo Bronzo

Presentation of the project '22.86 x 11.43 x 11.43'
- 11 jacquard weaves in various sizes, 2025.

https://readymag.website/palazzobronzo/home/

Who are you, Marzanno?’, texpol, Warsaw [PL] 2025

Datum:
Locatie: Ujazdowski Castle Centre for Contemporary Art

'Who are you, Marzanno? Dziewanno, Mrozanno, Marzanioku, Smiertusko, Smierciucho?

Spirit of winter, sign of rebirth, a folk reminder of the cyclical nature of the world? A joyful celebration of the intertwining of death and birth, a goodbye to the days of winter? During the workshop, we will examine the Slavic tradition of creating Marzanna and reflect on what it means for us today. How can we transform this custom to make it more relevant to contemporary times?'

https://texpol-grupa.com

,snucie’, texpol, Warsaw [PL], 2024

Datum:
Locatie: Ujazdowski Castle, Centre for Contemporary Art

'– And the soft walls, what would they whisper to us?
Where curls of gold, acrylic curtains and reflective jacquards wrap around the space, there hides a cosy portal of collective worry. In austere interiors, between plasterboard walls, textiles take on the qualities of a living tissue that weaves a story – one that is intimate and caring. From weaving, braiding, sewing, ripping, ironing, spray-painting, felting and upholstering, a rumour of the soft chamber emerges.'

https://www.texpol-grupa.com
In the corner, something makes the tiniest rustle
Sonia Górecka In the corner, something makes the tiniest rustle