[1][5] She attended The Academy of Fine Arts in Warsaw from 1984-1989, where she studied painting and drawing under Ryszard Winiarski, Stefan Gierowski and Marian Czapla.

[4] Weiss has exhibited alongside and collaborated with artists such as Carolee Schneemann,[12] Mona Hatoum, Francis Alys,[6] and Stephen Vitiello among others.

[13] Weiss has given lectures on her work at institutions around the world and her writings have appeared in numerous publications, including New Realities: Being Syncretic (Springer, Wien/New York) and Technoetic Arts (Intellect, London).

[16] Often she employs her body in repetitive and monotonous movements within specific limitations, such as submerging herself at long lengths in a concrete receptacle filled with water (Ennoia) or by rolling around, tracing her silhouette on materials such as sheets of canvas (Leukos) or a bed of books (Phlegethon-Milczenie).

[2] They are noted for their syncopated rhythms, which serve to “both disrupt and, paradoxically, prolong time.”[16] She “provides an alternative experience of space and time, which is not end-driven but steady and enduring.”[17] Drawing has been described as the touchstone of her art.

[17] Enacted in 2002 at the Diapason Gallery in New York, the installation involved the artist immersing herself in a concrete basin full of water, emerging only periodically throughout the 6-hour duration of the performance.

[16] A camera suspended from the ceiling recorded the performance and the image of her submerged, curled up body was projected on a nearby wall, accompanied by sounds from below the surface of the water.

Like an embryo in vitro, the font was interpretable as exoskeleton containing a nourishing vat of amniotic fluid, replete with the waters of her life.”[16] “Leukos” was an outdoor performance installation created on the grounds of Lehman College in the Bronx.

[7] Over the course of two days the artist and other contributors rolled around on large sheets of cotton, for several hours at a time, tracing their silhouettes with crayons, graphite, and pigments, while wind and rain darkened and blurred the drawings.

[18] The New York Times wrote of the piece: “Partly, the work helps make us look at and think differently about the body, as an inert object, and partly it is all about collapsing together artistic genres - sculpture, installation, performance and drawing - in a way so wayward as to almost obviate art altogether.”[7] For this installation in Potsdam, books - philosophical and literary publications from pre-war Germany – served as objects on which the artist crawled and drew, outlining her body while her eyes remained shut.