Today we’re excited to be connecting with Karolina Maszkiewicz again. If you haven’t already, we suggest you check out our prior conversation with them here.
Karolina, thanks for joining us again. Just to level set a bit for folks who may have missed our last interview together, can you briefly introduce yourself?
I’m an artist, mostly focused on kinetic sculptures made from natural materials, and a lot of my pieces are about connecting with the environment. Recently, I wrapped up a couple of residencies where I created art directly from the land. These projects were an opportunity to dive into how found materials and the energy of a particular space can shape the work. It’s kind of a dance between the environment and the movement I bring to the sculptures. It’s a process that’s always evolving, and every project teaches me something new about how art can exist in and with nature.
Alright, so our main goal today is to give our audience an update on what you have been up to since our last conversation. We’d love to hear how things are going and what you are most looking forward to or excited about these days.
Last October, I had the incredible opportunity to do a residency at the Graham Residence in Joshua Tree CA. If you haven’t seen it, the fall season in Joshua Tree is truly magical. The landscape seems to hum with the energy of the universe itself. There’s an electric feeling in the air brings with it a kind of stillness. The desert quiets your mind and brings you closer to yourself and the earth. It amplifies everything you bring with you—emotionally, spiritually, physically. It’s as if the land was holding you in its vastness, inviting you to create, to listen, and to connect.
As I worked on my sculptures I never felt lonely even though I was by myself the whole time. The wind, the birds, the small animals, and even the distant calls of coyotes at night were my companions. I was surrounded—not just by the towering boulders, the gnarled Joshua trees, and the quiet desert plants, but by a living, breathing presence channeling the very spirit of the land into my work. The landscape seemed to be in constant conversation with me. Maybe it’s the desert energy, or perhaps the force inside of us that comes alive here, but the experience of creating art in this place is different. It’s more raw, more direct. Joshua Tree magnifies everything that comes into it, including our emotions. October, with all its changes, brought that energy to the forefront. The colors of the desert, the light, the silence—they’re all more intense, more vivid, especially in the fall. There’s something sacred about this place, about these mountains and rocks, and about the way the earth speaks to those who are willing to listen.
On my last unforgettable night there happened to be a Super-moon. As I stood on the edge of the property looking up at that massive glowing orb I witnessed the Northern Lights, a rare sight for this area. I’d actually never seen them before until this moment. Standing there watching the lights ripple across the desert sky, I thought about how chaotic the world can be. Beautiful yes, but also dangerous. The soft greens and purples dancing in the sky felt prehistoric, and I was reminded of the Cree belief that the lights are the spirits of ancestors building fires in the heavens to guide us. It felt like the desert, the stars and the spirits of the past were all watching over me, giving me strength and reassurance.
While I was up there I started listening to more music than I usually do while I work. I don’t always like the distraction of music while I’m creating. For me it has to be the right combination inspiration and mood. If I feel like it’s interfering or taking me out of the moment I usually don’t play music. But this time was different. There were two artists whose music became the perfect soundtrack to my residency—Kacey Musgraves and Hania Rani. Kacey’s albums felt like an extension of the desert itself—warm, reflective, and full of soft, glowing light. Her songs, especially “Slow Burn” and “Space Cowboy,” echoed the sense of psychedelic charm that the desert evokes. On the other hand, Hania Rani’s piano compositions grounded me, her delicate yet powerful melodies, like a whisper, sinking into the quiet of the desert captured the stillness of Joshua Tree making everything feel even more intimate. This music became a companion to my creative process. Even now when I hear those songs I think of that time and the work I made while up there in desert.
I believe that art should be more than just a form of self expression—it can be a connection to something older, something that has always been here. Joshua Tree has a way of drawing you in, challenging you to listen deeper, feel more intensely, and open yourself to what is around you. And when the lights above whisper their quiet messages—whether they are ancestors guiding us, or simply the beauty of the universe unfolding—it becomes impossible not to be moved, not to be transformed. This land, this space, this time in October—it’s where the art comes alive. It’s where I find a piece of myself I can’t seem to find anywhere else.
We have now arrived at one of our favorite parts of the interview – the lightning round. We’ll ask you a few quick questions to give us all some fun insights about you.
- Favorite Band or Artist: Kacey Musgraves, Hania Rani
What are you most excited about in the coming year?
The pieces I created here will be part of an upcoming show at Herron Hose (https://www.herron-house.com ) in Orange County, titled “Life Is a Garden If You Open Your Eyes”. A line from Kacey Musgraves’ song, perfectly captures the essence of what this trip has taught me: “if we open our eyes, we’ll see the beauty that surrounds us”. Joshua Tree has shown me that beauty in spades, and I can’t wait to share it through my work.
Contact Info:
- Website: https://www.karolinamaszkiewicz.com
- Instagram: @karolina_maszkiewicz
Image Credits
Yoni Goldberg
