The Bodies series is the result of observing everyday rituals—specifically, the process of drying clothes in a tumble dryer. These objects serve as a personal reflection on motherhood and the role of a woman-artist, as their creation is closely tied to repetitive household chores. The fibers, hair, and fabric remnants accumulating in the dryer filter form organic, ephemeral shapes that seem to layer like a record of daily life.

The artist works with objects considered waste—foreign yet inherently connected to the body. In these seemingly random clusters of fibers and dust, one can see traces of closeness, touch, and passing time. They are relics of human existence, devoid of intentional aestheticization. By juxtaposing their fragility with the massiveness and rawness of metal surfaces, Szostek creates tension between what is soft and organic and what is cold and industrial.

A crucial context for this series is its time of creation—amid the war in Ukraine and the escalating conflict in Gaza. In this light, the felted fibers and scraps, with their irregular shapes, resemble explosions, fungi-clouds or gravestones. Though not literal or explicit, they carry a disturbing, almost brutal resonance. What was once an innocent trace of everyday life becomes a symbolic record of destruction.

The Bodies series speaks not only to personal experience but also to a broader political reflection on human mortality. Here, the body is not just a physical entity but also a symbolic space—a site where memory, history, and trauma accumulate.

This series aligns with the tradition of Dadaist and Surrealist assemblages, as well as Fluxus practices. By using what is ephemeral and discarded, the artist reveals how the invisible can become a vessel for telling stories about human existence.