above left and right: Gosia Wlodarczak (2010) BETWEEN VISIT & MIGRATION installation with participatory performancess at the Australia Council Greene Street New York Studio, USA, during Gosia's residency 07 March - 05 June; right from the top: Gosia Wlodarczak (2010) DUST COVER SOFA participatory drawing performance (image linked to: the outcome drawing, pigment on canvas, 147 x 207 cm); Gosia Wlodarczak (2010) DUST COVER HUMAN, PORTRAIT 2 participatory drawing performance within studio situation, 24 April (image linked to: the outcome drawing, pigment on canvas, 70 x 70 cm); Gosia Wlodarczak (2010) RED WALLPAPER studio installation, pigment marker on vintage wallpaper, 300 x 186 cm (image linked to: I DON'T LIVE HERE ANYMORE pigment marker on wallpaper 220 x 214 cm and DUST COVER CHAIR studio installation).
BETWEEN VISIT & MIGRATION belongs to an ongoing project DUST COVER: BETWEEN TRAVEL & MIGRATION which contain chapters: site-specific, time-specific situations which are developed in different locations.
BETWEEN VISIT & MIGRATION, the Australia Council Greene Street New York, USA, Studio residency project (7 March - 5 June 2010) investigates and archives a specific situation/social space which one occupies when inhabiting a strange place for longer than a tourist (visit) but not permanently (migration).
The project allowed me to work in a world between those that I have personally occupied between the NEW (Australia) and the OLD WORLD (Poland). American is also the NEW WORLD it too is still foreign to me, so this created a strange nexus where I was operating outside of my comfort zone in a city that by its nature is both strange/familiar.
On the beginning of my residency I transformed the studio space into site-specific situation/installation, using as a point of departure an idea of the dust cover. Some people, when they go away for longer, cover their furniture and objects with large pieces of fabric: dust covers. I created a number of DUST COVERS around the Greene Street studio interior and drew on their fabric surface what I could see around grasping the actual moment, the flux sense of presence, an acute sensation of being present in time and space. In a same time the drawing structure revealed the form hidden under the fabric.
The outcome of those performative processes shaped my environment, the interior that I occupied, during three months of my residency on Greene Street.