I believe art offers an opportunity to visit places where words don't exist. I look for these places beyond words.

I'm interested in existence, especially human existence, as it relates to self exploration. I attempt to balance between the emotional and the intellectual; the rational and the irrational. I accept the role of being subject and object of my studies. Sometimes I reduce the work to a mere mark to prove my own existence.

My recent body of work is focused on the unstoppable process of change, on the past and the future embedded in the present. The Series of drawings on layered transparent films is evidence of my attempts to incorporate the element of time into my work. I want to see lines animated, floating in space and changing relationships to each other. The thought that the source of the movement is shifted from the work of art to a viewer, helped me to understand the necessity of interaction between both to be able to observe a phenomenon called "art", which, in such a case would be a process, an act and not an object by itself.

Almost every layer of film as well as drawings on paper carry short autobiographical information. Those notations allow me to anchor the work to a particular moment of my life becoming its record.

I am playing a game with myself and the viewer. I try to reevaluate the subject; to look at it and allow it to be looked at it from a different perspective.

 My hope is to preserve a sense of ambiguity in all my works and to leave a freedom of a final interpretation to a viewer.

"It would be hard to put Kamila's work into any particular category.

She describes it as "frozen film stills, moments of change frozen in time".

Her quest to find an ideal organic form representing a process of change rather than a particular physical object is a delicate balancing act, of controlling and letting be in order to capture and immobilize a particular moment.

Her cleverly engineered forms (sewn and stuffed fabric shapes combined with balloons and foam and held together by string) are being transformed during the drying and firing process into strangely beautiful and quirky constructs. Sometimes they retain their white purity; sometimes there is an element of surprise when a vivid colour is introduced. They demand our attention by being slightly unsettling and ambiguous in their references to the natural world and having a hypnotic appeal at the same time. The final object is intended to be a pure memory with the fired shell containing something which is no longer there."

a fragment of a text from "Porcelain Another Way 2009" catalog by Marta Donaghey, Contemporary Ceramics Gallery, London