Photo by Joe Rudko//AS Review

As you enter the Western Gallery, an arrangement of musical notes catches your ear.

The music comes from an isolated viewing space to the left where “The Train Trip” and “Mt. Baker,” two animated films with sound drawings, play on a loop.

To the right, the enormous “Skin of the Wall” drawing instillation stretches 55 feet across and 14 feet high.

The exhibit, by artist Gosia Wlodarczak, is open Monday through Friday 10 a.m. to 4 p.m., Wednesday 10 a.m. to 8 p.m., and Saturday 12 p.m. to 4 p.m. It ends March 3. The gallery is located in the Fine Arts building.

Wlodarczak’s work is intriguing and unconventional, Western Gallery Director Sarah Clark-Langager said.

The artist inhabited the gallery for two weeks. She created “Dust Cover Campus Furniture,” where part of the art department’s chair collection was covered with canvas for her to work on, Clark-Langager said.

While living in her space, Wlodarczak only draws what she sees happening.

Clark-Langager recalled talking to her in the gallery. Her attention was on the drawing but she still made eye contact and drew Clark-Langager’s arm as a portrait, Clark-Langager said.

The AS Review sat down with Wlodarczak to learn a little bit more about her interactive art.

AS Review: Could you describe the process of your art?
Gosia Wlodarczak: My intention is to record the present time-continuous moment. This is the way in which I try to translate living energy into the drawn line. The line is processed via the biological phenomenon of being, as detected by my sense of sight and communicated through my body. I draw my environment as I see it in real time, tracing and re-tracing the visible. The line absorbs heightened awareness of being in the everyday areas of human thought, behavior and experience.

ASR: What interactions with viewers do you enjoy most?
GW: All conversations with visitors to the exhibition and all interactions with students during my residency performance project, “Dust Cover Campus Furniture,” were very good. All classes were fantastic, [including a] greatly memorable, visually stunning dance performance by students of [dance professor] Penny Hutchinson. I very much enjoyed listening to [fine art professor] Tanis S’eiltin’s students when they introduced to me their projects. I liked conversations with Barbara Miller’s art history students, and curiosity and in-depth questions by journalism students.

ASR: What is important to know about your work?
GW: People always interpret what they see in their own way, but I try to inform my audiences that I never draw from imagination. What I do is a direct response to what I see, what I see around me while I draw, and the importance of chance in development of my work.

ASR: Overall, how was your experience at Western?
GW: The experience was very good. Priceless help from the gallery staff, a really fantastic gallery space with very good equipment, which made the installation process so smooth and effective, very interesting and interested students. It was a pleasure to set up my exhibition and to conduct and perform the residency project. I would like to thank the Western Gallery and the university for an amazing opportunity to exhibit my work and to make the performative part of the exhibition possible, and such a great experience.

ASR: What do you believe is interesting about your work?
GW: I think that my work, which concerns with fundamental issues of human existence on the behavioral level, may interest everyone and especially people who naturally are in an environment of learning and asking questions.