Natalia Janula’s work often consists of mix media assemblages, which employ a material vocabulary of humanoid silicone casts, latex photographic prints, fragile anatomical miniatures of body parts, female cosmetic accessories, high-viscosity liquids, lm, CGI animation and latex wearables. It playfully equivocates between the organic and synthetic, sometimes simulating entities whose physiologies include both technological and biological components. It is a relationship that feels increasingly liquid in both its application and substance. The final expression of this romance forms an off-kilter specimen cabinet for an age in which the human and the techno- logical become ever more fundamentally intertwined.
Recently, Janula been looking in to the Japanese art of Ikebana (and it’s 21th century counterpart, ‘Freakebana’) – a practice with a specific set of rules regarding the arrangement of still objects in a way that seeks to emphasize a sense of harmony and inner ‘life’ via their particular placement within a given scene – reviving
commonplace objects to a
higher (or lower) plane of aesthetic contemplation. She is seeking to integrate these ideas into her own practice, where assemblage and the arrangement of often disparate objects play such a large part.
Janula’s on-going project, ‘Cuddle’, is an exploration of non-human intimacy, a narrative of ancient creatures in the form of the horse shoe crab, re-imagined in the digital realm as a 3D model situated in a fleshy, womb-like environment. Synthesized artificial winds, deep pulsations and anxious melodies provide the sonic backdrop to this hard and soft primordial landscape. This project has been driven by her research into geology, biology, and interspecies relationships with both natural and man-made environments.