Voloshyn Gallery in Miami presents DISORDER, a solo exhibition by Polish artist Aneta Grzeszykowska. The show brings together earlier and recent works, often using animal skins, hyperrealistic silicone figures, and masks. Grzeszykowska examines existence, mortality, and identity by involving family members, pets, and her own body. In staged photographs and scenarios, she disrupts conventional domestic hierarchies: humans adopt animal traits, objects appear anthropomorphic, and roles within the family are rearranged. Boundaries between human/animal, subject/object, life/death, and youth/age become unstable. Central to the exhibition is THE DAUGHTER (2025), a new series featuring a silicone mask of the artist’s face at age fourteen, worn in photographs with relatives. DOMESTIC ANIMALS (2022) shows the artist’s dogs wearing pigskin masks modeled on her own face. MAMA (2018) presents a life-size silicone replica of the artist photographed with her daughter in various settings. Through these works, Grzeszykowska explores control, kinship, recognition, and the fluidity of selfhood. The exhibition runs until January 10, 2026.

Aneta Grzeszykowska: Disorder / Voloshyn Gallery Miami. November 30, 2025.

Exhibition text:

Voloshyn Gallery is pleased to present DISORDER, a solo exhibition by Aneta
Grzeszykowska.

Spanning from past to recent works, the artist incorporates performance, photography, and object-making, frequently incorporating materials such as animal skins and hyperrealistic replicas. Her practice addresses questions of existence, mortality, and the relationship between body, image, and identity.

In DISORDER, Grzeszykowska engages her immediate environment-family members, domestic animals, and her own body-to reconsider conventional hierarchies within the household. Through staged scenarios, she introduces shifts in roles and identities: humans take on animal attributes, objects assume anthropomorphic qualities, and the artist positions herself in alternate familial roles. The exhibition explores the intersections of control, kinship, and subjectivity, presenting situations in which categories such as human/animal, life/death, and youth/age are unsettled.
The exhibition centers on THE DAUGHTER (2025), a new body of work in which Grzeszykowska employs a hyperrealistic mask based on her own face at the age of fourteen, reconstructed from family photographs. Used in performative photographs with relatives, the mask enables her to reframe her place within domestic dynamics. Its inanimate features emphasize passivity, while the combination of a mature body with a youthful face produces an ambiguous effect that underscores themes of memory, identity, and temporality. Also included is DOMESTIC ANIMALS (2022), where pigskin masks of the artist’s face are fitted onto her dogs. The photographs produced from these interventions examine ideas of recognition, projection, and estrangement.
The exhibition further features MAMA (2018), a hyperrealistic silicone replica of the artist, created with professional fabricators. Photographed alongside her daughter in a range of constructed situations, the figure functions simultaneously as surrogate and object, raising questions about representation, identity, and the unstable boundary between person and image.
With DISORDER, Grzeszykowska continues her investigation into selfhood, mortality, and the shifting relationships among human, animal, and object.