Lola's sculptures are infused with performative potential as if animated by a spirit from elsewhere. Her pieces extend beyond clear and neat identification: props, carved objects, wearable elements, theatrical implants, hybrid creatures. They seem to be invested with an almost ritualistic feeling, as underlying their origin is the impulsive spirit of an untamed wild and primordial disclosure. This attitude is especially visible due to the sources of inspiration Lola refers to - varied and multiple but all interrelated by a prominent sense of mesmerising enigma and ancestral need of expression. A fluid intermingling of disciplines is also the foundation of the artist's personality, which encounters one of its essential peculiarities precisely in the combination of different spheres and realms such as visual arts, fashion, film, biology. The pieces are pervaded with a vital wit - not conceived as static and silent, or at the mercy of a mere contemplative act but rather as organic entities engaging with the human sphere from an alien yet natural dimension.

In your bio on Instagram, you define yourself as a sculptress, mistress and faun. Would you like to introduce yourself and your practice?

The first sculpture I made as an independent artist was heavily inspired by 'The Bacchante' by Jean-Leon Gerome. This painting, full of delicacy and corporeality made me want to carve horns like those of the portrayed personage. The dual natured form of a faun plays well with my interest in the uncanny and that is how I 'became’ a Faun. The idea of playing with extending your body engrossed me a lot. The Fauns horns were the first wearable sculpture I created, so the concept is very dear to me. Further formal experiments came quite naturally after that. I started to explore more interesting and elaborate forms, different meanings.

What does your creative process entail, and where do you find the most profound inspiration?

When I was studying in art high school, it was very frustrating for me that the teachers required us to sketch and plan everything very neatly before we started any work. Although I understand why it was needed then, now as an independent artist I like to get carried away by the creative process. Often the sketch I start from is a tiny scribble in a notebook - even if I plan a very large sculpture. For me creating is constant intellectual work, making decisions in the process, changing the concept. Fortunately, the medium in which I create most often - papier mâché - is an additive-subtractive technique, so it allows me to constantly improvise.

Most of my inspiration comes from nature: the floral form of various plants are so incredibly beautiful and mysterious to me. Underwater fauna - octopus, anemones, corals, snails, squids and others have the most fantastic forms and colors we can find on our planet and I’m moved by them every time I see them. I am very grateful for the technological advancements which made it possible for me to experience them. Special thanks to Sir David Attenborough who created many of my most favourite documentaries.

When it comes to the works of other artists that I look up to, I am most inspired by the slightly abstract or surreal ones, which speak sensitively about internal struggles, such as the sculptures of Alina Szapocznikow, the paintings of Tivadar Kosztka Csontváry and Georgia O'Keeffe. In the medium of film and video, David Lynch is another great inspiration for me. It was from his films that my interest in uncanniness began. The echoes of this inspiration resonate throughout my work ever since.

You seem to have a performative or even theatrical bent. Where does this artistic inclination and desire to make your works somehow enliven come from?

Although sculpture has been my love and favourite medium for many years, I remember that it bothered me that the sculptures I made in high school were big, cluttering objects, just standing there and collecting dust. Especially when I went to study sculpture. Academicism and the pressure to create, above all, mimetic monuments of human figures effectively scared me away from sculpture. After a year at the University of Art in Poznań, I gave up my studies and graduated from the Warsaw Film School with a degree in Film Theory in Practice, where I created etudes and video art. It was there that I fell in love with postmodern cinema and the works of David Lynch, Pedro Almodóvar, Peter Greenaway and others. Then I did my master's degree at the Academy of Fine Arts in Warsaw at the Intermedia Department. There I found myself in performance and continued creating video arts, and that's what stayed with me. It is thanks to these experiences that I understood what I expect from sculpture and how I can create it on my own terms. I wanted to give my beloved medium a chance for intimacy, for harmony with the body. I wanted to revive the objects that I create through symbiosis with a human. I also started making sculptures dedicated to performance. Now I think to myself that each act of superimposing or communicating with a sculpture is a kind of a small performance.

Many of your works appear as almost alien extensions of the human body: prosthetic sculptures that adorn and at the same time conceal. Do you recognise yourself in such a reflection?

Yes, absolutely. If we can dress up in art, we can create the reality around us. The creation of self is of the highest importance - it allows us to be free. I am very attracted to the idea of an uncanny form that formally reminds us of known biological forms but is eerie in itself. The uncanniness, even more the quite specific ‘Lynch-iness’, was always fascinating and important to me. Balancing on the edge of dead-alive or biological-mechanical gives the viewer an uncomfortable feeling. It is that inexact feeling that I try to use as the main medium of communication in my art.

Naturally derived organic shapes and otherworldly figures or colour tones. What is the connection between these aspects present in your creations?

As I’ve mentioned before, I am very inspired by biological forms, flora and fauna alike. I love to contrast them with strong colours if I want a piece to feel otherworldly, or uncanny. Other times I leave the natural tone of raw materials: papier mâché or epoxy resin. It contrasts the form in a different way, it appears to be a concrete or crystal-like matter, which reminds us of fossils or the archeological findings of past civilizations.

Your pieces appear fluid, somewhere in between art and fashion. How do you relate to interdisciplinarity?

I love the idea of combining art with fashion, performance with sculpture, etc. For years I have been cooperating with a music artist Pat Dudek @dudekpat who runs the project Milkbaby. Often Pat wears my objects during live shows. I was also the stylist for his music video 'Holy Milk’. I like not to limit myself to just one type of medium or creativity. Such cooperation allows me to be a person for everything - I make graphics, sculptures, objects, fashion stylizations, etc. That is why my more fashionable series of sculptures/hairpins

'Trinkets' was created. I wanted to use my skills and create something very intimate for the wearer, not only the art that is usually exhibited in galleries. Fortunately, I have recently become involved with the new gallery Sklep Galeria Karowa @sklep.galeriakarowa in Warsaw, which supports me in developing in any direction I choose, be it fashion or performance.

I identify sculpture as a medium with myself. This is the core of my work. And although sculpture is the closest to my heart, I love interdisciplinarity and I try not to confine myself to one field. That is why I try to make sculpture be part of videos, performances, photo sessions, live shows, concerts, music videos, fashion shows, 3D scans or even private life, as it is with my 'Trinket' series.