Born in Poland in 1985 and based in the UK since 2007, interdisciplinary artist and performer Kamila CK came to dance and the wider field of art as a mature artist in her thirties. Defying expectations of when you ‘should’ begin a career in the arts, over the past few years Kamila CK has developed a practice that spans performance, visual art, Japanese calligraphy and modern technologies.
With a practice that is focused on expanding visual storytelling and the body/space dynamic, we sat down with Kamila to chat about her new work The Circle of Everything, how a trip to Japan influenced her style and her inspirational journey into the dance world.
Q: Tell us about your work The Circle of Everything and how it came to be?
A: The Circle of Everything is a solo interdisciplinary performance that bridges and redefines boundaries between aerial movement, live painting and modern technology (in the form of projected moving images). It’s visual, immersive and physical, but not your traditional circus or dance act.
Using the symbolism of the circle, the work celebrates the life force around us and within us – invisible, infinite energy. The piece also explores the duality in life: the higher and lower realms, lightness and heaviness, our sense of connection to oneself and the world, and the opposite – our sense of separation. It serves as a catalyst for internal dialogue, reflection and inner transformation.
Integrated into the performance is live Enso painting; my ongoing spiritual practice where the artist paints the circle in one masterstroke, one breath, and without corrections afterwards. Symbolically, the iconic Zen symbol represents the circle of life and the connectedness of existence. The painting will be produced on a large scale to correspond to the human body and the aerial hoop. The artwork will remain on stage afterward as an art installation for the audience to view up close.
The idea for this performance arose from my fascination with painting Enso circles following my visits to Japan in 2018 and 2019 and studying Japanese calligraphy. When I started painting them on a larger scale, I realised that the shape perfectly corresponds to an aerial hoop, which planted the first seed of the idea. Since 2021, I’ve had a strong desire to blend visual art and aerial acrobatics into an interdisciplinary performance to bring something new and innovative to the industry.
In 2022, I created the first version of the work titled The Odyssey of the Circle during my residency in France in collaboration with the audio-visual duo Lola & Yukao Meet, Bourgogne. It was an interdisciplinary 20-minute performance where I could choreograph movement on a hoop and paint Enso in one work. The performance was enhanced with an original musical score (using electric cello and vocal harmonies), while live digital drawings were projected around me and on the hoop.
I hadn’t been conditioned by the art and dance world, my work could be truly authentic – Kamila CK
The climax featured me painting a large Enso against the backdrop of an aerial hoop and full moon. The triple-circle composition was magical, awakeninga profound sense of awe within me. Over time, the concept evolved in my mind, prompting questions such as: What if the Enso painting were onstage earlier? How would it alter the choreography on the hoop, and how could this mirroring effect enhance storytelling? Could I design and curate my own backgrounds and visuals to interact with and elevate my storytelling?
In 2023, during my first residency at Clarence Mews in London, I attempted to answer these questions (and more) with my new work, The Circle of Everything. It became my most complex and authentic work to date. Initially tested in front of a private audience as a 3-minute aerial excerpt in September, it evolved into a 12-minute live painting and aerial performance by December. The premiere during Camden Fringe will feature the extended 40-minute theatre version that I have been developing since January 2024.
The work had evolved into a beautiful yet powerful piece, serving as a ‘wake-up call’ in response to the disconnection and distractions pervading society today.
Q: What draws you to making immersive performances?
A: Immersive performances captivate me because they offer a profound escape from the orbit of everyday thoughts and problems, transporting me into a deeply engaging live art experience. In these moments, I find myself completely absorbed, liberated from mundane concerns. Today, with the advancements in modern technology, creating immersive experiences has become both easier and more exhilarating. The plethora of tools at our disposal allows us to craft incredibly impactful experiences for audiences, harnessing technology to push boundaries and evoke powerful emotions. This intersection of art and technology fuels my passion for immersive performances, as I strive to create transformative experiences that resonate deeply with people.
Q: You came to your art practice in your 30s. How did you get into art and what was it like for you entering the world at that age?
A: That was a huge breakthrough moment in my life. I’ve always been an art lover; my soul-filling activity was to go see performances and exhibitions in London, but only as an audience member or a buyer. I never considered myself to be an artist—mostly due to societal conditioning and my own limiting beliefs. Only when I did some soul searching and psychology courses in 2016-17, I started to realise that my life so far had been built on false foundations and how much art is important to me.
It was very eye-opening to enter the world of art and dance so late. At first, it was fascinating but also hard. As much as I enjoyed being with other artists and learning, I knew I was way behind and had a lot to learn. I still remember doing my professional circus course at the age of 34 with people who had been gymnasts since the age of 6 and could do a split with no warm-up. And there I was learning my first splits and performing for the first time. It was mad!
On the other hand, I also knew I had a huge advantage—because I hadn’t been conditioned by the art and dance world, my work could be truly authentic and ‘unspoiled,’ offering something entirely new to the industry. Just like the fathers of new painting movements who were not academically trained (Kandinsky was initially a lawyer, and Van Gogh was an art dealer), their free-thinking ability allowed them to brake the norms and invented new directions in art.
Furthermore, entering the art world as a mature artist provided a better sense of stability. I’m no longer in my 20s – a time of self-discovery and seeking validation. Instead, I feel grounded and confident in my interests and desires. I no longer seek external approval or strive to find myself. I know what I stand for and I know I have no time to waste, which gives me a profound sense of purpose and perseverance.
Q: What’s next for you?
A: The Circle of Everything will continue its journey beyond the Camden Fringe. In November, a 20-minute version of the work will be presented at the Lincoln Arts Centre. Additionally, I plan to develop a film version that can be displayed in art galleries, film festivals, and public spaces, making the work more accessible despite the site-specific challenges posed by its aerial elements and technology. Finally, I am seeking producers and funding to turn this project into a tour, accompanied by an exhibition of paintings and performance photographs.
At the same time, I will continue to create and show new works, both performances and paintings. There are a few exciting collaborations in the pipeline including a performance project with a technology studio in London as well as a new solo exhibition at my gallery and an art stay concept at No. 2 Boutique Art Townhouse in Lincoln.
Book to see The Circle of Everything at Camden Fringe on 18 August here.