Olga Ziemska makes public and environmental sculpture that connects the human figure with natural systems. Her documented projects combine reclaimed organic materials with fabricated or cast components.
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Not documented; confirm with the artist, studio or estate.
Research notes for project planning
What the project record tells us
Exhibition ran May 2023–March 1, 2025 and has ended.
Sourcing from a working arboretum
Of the Earth brought five sculptures to the Morton Arboretum in 2023, using branches gathered across its grounds alongside other materials. The institution describes weeks of collection with volunteers, making the arboretum’s own maintenance landscape part of production. The exhibition ended in March 2025, so it is a completed temporary program rather than a current attraction. For another landscape project, this precedent suggests connecting the artistic material palette to actual pruning cycles, storage capacity and the time needed to prepare what is collected.
Can site maintenance, collection space and volunteer scheduling support the material preparation the work requires?
Big Art Partners planning prompt
Commissioned 2016; dedicated 2017.
Casting a trace of the site
Dublin Arts Council identifies Feather Point as a cast stainless-steel sculpture patterned from trees at Thaddeus Kosciuszko Park. The commission was awarded in 2016 and the work dedicated in September 2017; those dates describe different stages. The transformation from local tree forms into metal gives the permanent artwork a specific relationship to its setting. For a commissioning team, the useful discussion is how a source material’s connection to place survives translation into a fabricated object with a different maintenance life.
How will a permanent fabricated form retain a legible connection to the site materials that generated it?
Big Art Partners planning prompt
Practice context; interior and exterior precedents remain distinct.
The body as a landscape relationship
Ziemska’s studio describes the human figure as continuous with its environment and identifies both outdoor commissions and an interior lobby project, Cellular. The account places material choice within a wider question about how people understand themselves in relation to nature. This offers a useful starting point for a brief that might otherwise specify only a large figurative object. The commissioner can first identify the desired relationship between body, surrounding landscape and viewer, then test which setting and construction approach can express it.
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