Karolina Chandler is a visual artist currently based between Warsaw and Los Angeles

Working across various media — painting, sculpture, and illustration — her practice resists easy categorisation, evolving continuously as new materials and questions demand new forms. A graduate of New Media Art at the Polish-Japanese Academy of Information Technology, she spent years working as a graphic designer before committing fully to her artistic practice. Her work is rooted in material experimentation: combining diverse techniques and media to investigate the relationships between matter, emotion, and space.

Central to her current work is the act of collection and transformation. She gathers found objects, discarded scraps, and overlooked fragments of everyday life — materials that carry the invisible weight of prior use, of hands that touched them, of time that shaped them. Rather than erasing this history, she amplifies it. Through sculpture and assemblage, these objects are not repurposed so much as reawakened, invited into new relationships while retaining the memory of what they once were.

Her sculptural process is one of sustained experimentation. She moves fluidly between techniques, treating each new material as an invitation to learn a different language — one that might speak through texture, weight, resistance, or decay. There is no fixed method, only a committed curiosity: what happens when this meets that? What does this material want to become?

Underpinning everything is a deeply sensory sensibility. She is drawn to work that does not merely ask to be seen, but demands to be felt — that engages smell, touch, sound, and presence alongside vision. The goal is an art that is physically alive, that occupies space with intention and makes the viewer aware of their own body within it.

The materials she works with are never neutral or anonymous. Every scrap, every fragment, every found object is an intimate part of her lived experience — gathered from the margins of daily life, held close before being transformed. This intimacy is not incidental; it is the work's foundation. Her art is, in this sense, profoundly autobiographical, even when it does not appear to be — a quiet accumulation of the textures, residues, and remainders of a life fully inhabited.