Monika Niwelinska is a visual artist working in the media of installation, printmaking, and photography (photosensitive processes). Her artistic practice embraces the areas of memory and perception, especially the internal recording of place and time and its visual translation into a tangible image. She is interested in tracing connections and tensions between presence and absence, appearance and disappearance – a narrative that resonates around the concepts of melancholy, memory and loss; traces, remains and time.
In her work, Niwelinska explores the idea of photography as an analogue of trauma; particularly in the context of direct exposure, which can be interpreted as trace or remains of a traumatic event. Niwelinska's projects examine the relationships between photosensitivity and place, with a focus on post-traumatic sites and their visual representations.
The theme of radioactivity and a unique bond between photosensitivity and radiation remain the essential subject of her work. Niwelinska’s recent interests embrace the topography of Shoah and post-Holocaust spaces. (Post)memory and hidden presence of the past: tracing and exposure of invisible trauma; materiality of the traces. Her work often refers to the official representations of historical events as well as the visual languages and apparatuses that produce them, underlining that history in many respects is the history of recording devices and technologies, but also materiality.
In her research-based art practice she developed the concept of the entropic image – a photosensitive image, subject to organically evolving processes of change and destruction, oscillating somewhere between visible and invisible. Through a broad range of experiments in technology and visual aspects of photosensitive image she examines potentially new areas of application of light-sensitive medium in visual arts outside its natural context of classic photography.