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The project began with a dream shaped by anxieties surrounding artificial intelligence and explores what it means to remain irreducibly human as we move between digital, physical and embodied worlds.

Drawing on the Surrealist technique of the Exquisite Corpse, Sensory Exquisite Corpse unfolds through a series of translations between painting, poetry, sound, gesture, performance, data, projection and audience interaction. Each stage generates material that is transformed and reinterpreted through the next, creating an evolving dialogue between analogue and digital forms of experience.

The performance shown here brought together improvised music, live electronics, poetry and automatic painting. Responding in real time to musicians Peter Nagle and Georgia Morgan Taylor, Claire Zakiewicz created large-scale paintings that emerged from a process of visual, sonic and embodied exchange.

These performances subsequently became part of a larger immersive installation developed in collaboration with curator Eojin Jo, interactive media artist Abraham Mathew and experience designer Sohum Sharma. Through sensors, projection, sound, archive material and audience participation, the installation investigates what is lost and gained as experiences move between dream, body and screen.

 

 



 

 

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Scream after Munch, 2026
Oil and watercolour on canvas
50 x 70 cm

 

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Trans Pollination, 2026
Oil, pastel and watercolour on linen
143 x 224 cm

 

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Balloons over Embodied Patterns, 2026
Oil, pastel and watercolour on linen
143 x 224 cm

 

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On this track, 2026
Oil, acrylic and pastel on canvas
173 x 194 cm (68" x 76")

 

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A live, trans-disciplinary improvisation

The performance brought together improvised electric guitar, cello, live electronics, spoken text, and live painting.

Developed alongside ongoing research into embodiment, authorship, and generative systems, the work positions painting as a material counterpoint to computational logics of speed and optimisation. Paint slows things down. It sticks to the canvas. It holds friction, gravity, and the trace of the body.

This performance forms part of an ongoing exploration of collaboration, distributed agency, and painting as an ancient yet adaptive technology - one that continues to question, re-sensitise, and hold complexity in the present.

Georgia Morgan Turner: electric guitar
Peter Nagle: cello , voice & live electronics
Claire Zakiewicz - performance painting , voice

Wednesday 4 February
1:30-2:30pm
Bridge Studio, 3rd Floor, Woo Building, RCA Battersea



 

 

 

 

 

 

 

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On this track, 2026
Oil, acrylic and pastel on canvas
173 x 194 cm (68" x 76")
Royal College of Art, Bridge Studio

 

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Stay in tune, 2026
Oil, acrylic and pastel on canvas
173 x 194 cm (68" x 76")

 

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Stay in tune, 2026
Oil, acrylic and pastel on canvas
173 x 194 cm (68" x 76")
Royal College of Art, Bridge Studio

 

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Over the bridge were eight balloons (in process), 2026
Oil, acrylic and pastel on canvas
173 x 194 cm
Royal College of Art, Bridge Studio

 

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Georgia Morgan Turner
Photo: Chris Freeman

Royal College of Art, Bridge Studio

 

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Peter Naglle
Photo: Chris Freeman

Royal College of Art, Bridge Studio

 

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Sara Lane Open Studios
June 3 - 6, 2026

 

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RCA Photography Studio, 2026
Photos: Chris Freeman

 

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All content © Claire Zakiewicz
2026