Mikołaj Sobczak

This vase juxtaposes two clandestine amateur photographs: a Polish nobleman kissing a Ukrainian Cossack, and domestic wrestling between two female impersonators, once published in the underground newsletter “Letters from Female Impersonators.” By inscribing these intimate acts onto a household object, the work foregrounds quiet domestic rebellion. suggesting that revolutions often begin in kitchens, where private gestures unsettle binaries and cultural norms.

The ceramic vases refer to an originally Dutch technique that was brought to Poland by persecuted Anabaptists in the 16th century. Over time, this craft, introduced by migrants, became deeply embedded in Polish culture and is now perceived as distinctly Polish. The artist is also interested in this tension between cultural origins, migration, and the way traditions are reinterpreted as part of a national identity.