VISIONARY INSTITUTE
Sabina Sallis (b. 1979 Lancut, Poland) is an artist, researcher and educator based in Newcastle upon Tyne UK. Originally trained as a ceramicist and painter, Sabina has, over the past decades, experimented with multiple media, expanding her art practice into a generative and poetic unfolding of living situations on both micro and macro scales. Working with ideas, language, places, plants, gardens, people, critters, the ineffable, magic, and more, she creates intimate, visceral experiences. Sabina conducts ART as an Apparatus for Resurgence in Trophallaxis; it serves as a Land Practice animated by the inherent technologies within it. Employing a wide set of artistic strategies for common world-making and shaping a liveable present and future, this practice takes place under the auspices of the Multispecies Visionary Institute.
Sabina works in a speculative and transdisciplinary manner, combining imagination, intuition, and instinct with in-depth research, eclectic interests, care, and hands-on creative practice to craft highly complex multimedia storytelling and healing devices, often with an expansive multiplicity of details. Grounded in a personal and intimate connection and relationship with the Earth, her practice explores intricate links within living worlds and strives to bring others into meaningful and heartfelt relationships with life, land, and the more-than-human worlds. This vision creates situations that are experiments in an expanded art practice where art, magic, and technology merge into tools to playfully exercise functional mysticism and creatively construct the world and community.
Sabina graduated from College of Fine Art, Jaroslaw, Poland and Magdalena Abakanowicz University of Arts, Poznan, Poland with MA in Fine Art. Sabina completed her practice-based PhD in Fine Art in 2023 at the School of Ars and Cultures at Newcastle University, UK. This project was titled ‘Aesthetics of sustainability: What impact can a critical multi-media arts practice have on our visions for sustainable future?’ , and it explored the reciprocity between 'land practice' and art practice within art historical and avant-garde contexts, drawing from traditional knowledge, contemporary models like permaculture, and emerging theories from environmental humanities, multispecies studies, post humanism, and new materialism. The research embodies a positive and creative approach to world-making and unmaking, emphasizing radical imagination, and intimacy in living and working with the land as a cultural, critical, and social practice of meaningful connection, cultivation, and care.
CV