The only light source in Ursula Sokolowska’s dark “Automata” photographs comes from the bright image
projected onto a partial figure. The projections wrap around the contours of the subject and play across its
surface, masking its inherent texture—as if “tattooing” the body with light. The patterns feel industrial,
sometimes full of decay and rust, other times futuristic and robotic. Critic Jud Yaklit notes the figures have
“closed their eyes, as though they are resigned to their transformative faces.” With a very low-tech approach,
Sokolowska shows the indistinct line where humanity and technology meet.
More of Ursula's work can be seen at
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