Pick Roses at Night I, Jana Sojka

Michelle Freya: Your work embodies nighttime nostalgia. It instantly awakens the memory of a night drive or the essence of feeling deeply beneath the dark sky, caressed by the light of a street lamp. How would you describe your affinity for the night and its impact on your photography.

Jana Sojka: There is something poetic about the night. The world feels quieter, more intimate. It's a time when memories resurface. My affinity for the night is rooted in my memories of life in Poland, my home country. I vividly recall those hot summer nights when I'd return home from playing with friends. I also clearly remember the cold winter nights, with blocks of flats blanketed in snow. Lots of snow. I like capturing the sense of movement by using long exposure. Blurred images offer a slight abstraction, inviting the viewer's imagination to fill in the gaps, which evoke feelings of longing, nostalgia, and the passage of time. Reality and imagination blur. 

MF: Mixed media seems to be a significant method within your imagery. Self-portraiture, words, and texture all play a key role in your visual arrangements. Can you tell us about the experience of combining a range of different mediums and materials to produce one final body of work.

JS: The experience of bringing all these elements together is, in essence, chaotic, emotional, and necessary. Texture plays a vital role. Materials that carry their own history inspire me. I’ve got a beautiful collection of vintage paper that I use in my photographs or collages. I work with what feels right at the moment, with what can best articulate the feelings I need to express. Each medium and material has its own qualities and limitations, and by juxtaposing them, I am able to explore a wider range of aesthetic and conceptual possibilities.

Blue Night, Jana Sojka

MF: Beautiful, cobalt blue is a recurring color amidst your art. It is clear that this striking color means a lot to you. Can you speak on your Blue Vision Archive project.

JS:Cobalt blue is my favourite amongst all shades of blue. It is fully visible only at dusk and exists in the transition between day and night. It’s my favourite moment to photograph. The light is constantly changing, and this colour may only appear for a few minutes before it fades into the deeper shades of blues brought by the becoming night. The Blue Vision Archive project is a culmination of my connection to the colour blue, dedicated to exploring the relationship between artists and the significance of blue in their work. Each piece features not just the colour but also the unique way it interacts with the artist’s style, medium, and message.

Pick Roses at Night II, Jana Sojka

MF: Your images feel as though they begin in a quiet moment where one might hear a pin drop or the wind whistle through a bed of trees. They then become busier and evolve through imaginative exploration. Describe the process between when you capture a photograph to when it is printed. 

JS: The pleasure of seeing occurs before the pleasure of taking the photograph. This is how personal memories are preserved. The initial phase involves capturing the photograph itself, where I use a variety of cameras, from a classic 35mm analog (Zenit TTL is my favourite) to a digital camera. I use diptychs in my work, pairing two photographs together and presenting contrasting or complementary perspectives. Once the photograph is captured, preparing the paper is a crucial step. I choose the type of watercolours that will be used for printing. I incorporate mixed media elements, including layering oils or acrylics, to add depth and texture. I sometimes also use handwritten text directly onto the photograph.

Moon Landscapes, Jana Sojka

MF: Your photographs are captivatingly floral. Do you recall how the rose or the pansy became eternal homes in your personal expression.

JS: Surrounded by the rich, vibrant embroidery patterns that adorned traditional folk costumes in my region, often featuring flowers, left a lasting impression on me, even if I didn’t fully realize it at the time. It wasn’t until a recent trip back to Poland that I discovered how much these traditional patterns influenced my work. The exquisite detail and vibrant colours of the embroidery found in these folk costumes resonated with me almost instinctually. I realized that this had quietly shaped my artistic vision over the years.

MF: Your work breathes effortlessly upon articles of clothing. How does bringing the clothing to life come to be.

JS: It’s an opportunity to create a dialogue between the artwork and the wearer. The clothing becomes a space for expression, where visual elements, textures, and colours interact. I’m currently exploring how clothing can be a canvas for my work. I am eager to go deeper into how this medium can develop in the future. There are many possibilities for integrating artistic techniques with fashion, and I look forward to experimenting with different mediums. This is a big area of exploration for me.

MF: Do you find that your process is one of solitude, or is the existence of your creations more so connective in nature.

JS: It’s probably a blend of both. One wouldn’t exist without the other. Solitude for introspection. Connection for communication.

Blue Night, Pansy, Jana Sojka

And so cobalt blue dusk becomes an ebony black sheet of stars yet again. A year passes by and the nights are held like keepsakes in a silver box. They set into the skin like an embroidered flower sewn onto vintage cloth. Jana Sojka’s intentional creative practice evokes the impulse to open the box and realize the forgotten thing that made you such a rememberer. An old lover breathes in the air at midnight and remembers you like a painting. There is nothing like the moonlight beaming down and across the concrete, illuminating the face of your dearest friend. 

FOLLOW JANA SOJKA WEBSITE INSTAGRAM

WORDS MICHELLE FREYA