The Cube

Video/Sculpture – 2026
HD, 4.15 min, Color, Sound, Loop

Sculpture:
Resin 3D Print, Hair, Aluminium, 2 LCD Monitors, Electronics
30 × 30 × 20 cm (12 × 12 × 8 in)

The Cube is a sculptural video installation composed of aluminum, 3D resin print, human hair, and embedded screens. A life-sized cyborg-like skull—modeled from the artist’s own CT scan data—rests on an aluminum base while monitors embedded in its eye sockets display fragments from her earlier same name performance (2017). In it, Marcin moves across the roof of a former farmhouse at Denniston Hill’s artist residency while reciting a poetic text reflecting on resistance and conditions of historically gendered social expectations. The performance culminates in a leap into a historic firefighter’s rescue net held collectively by the participants below, shifting from individual action toward shared responsibility and mutual dependency.

Positioned between memento mori, feminist critique, and self-portraiture, The Cube interrogates systems of belonging and the normative structures that shape contemporary life. The cube becomes a metaphor for family, social frameworks, and prescribed life models—structures that simultaneously support and constrain the individual. Through the continuous circulation of moving images within the sculptural form, the work creates a temporal loop between memory and immediacy, body and artifact, mortality and collective existence, suggesting stability not as a fixed condition but as something fluid, precarious, and socially sustained.

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The Cube Sculpture

The Cube, Video-Sculpture, 4 mins, 30 x 30 x 20 cm, 2026

The Cube (2026) is a sculptural video installation composed of aluminum, 3D resin print, human hair, and embedded screens. A life-sized cyborg-like skull—modeled from the artist’s own CT scan data—rests on an aluminum base while monitors embedded in its eye sockets display fragments from her earlier same name performance (2017). In it, Marcin moves across the roof of a former farmhouse at Denniston Hill’s artist residency while reciting a poetic text reflecting on resistance and conditions of historically gendered social expectations. The performance culminates in a leap into a historic firefighter’s rescue net held collectively by the participants below, shifting from individual action toward shared responsibility and mutual dependency.

Positioned between memento mori, feminist critique, and self-portraiture, The Cube interrogates systems of belonging and the normative structures that shape contemporary life. The cube becomes a metaphor for family, social frameworks, and prescribed life models—structures that simultaneously support and constrain the individual. Through the continuous circulation of moving images within the sculptural form, the work creates a temporal loop between memory and immediacy, body and artifact, mortality and collective existence, suggesting stability not as a fixed condition but as something fluid, precarious, and socially sustained.