On the altar of in/dependence
11.11.2017, Piwnica Kany/Szczecin
That, which some consider to be an independence, others consider to be a dependence, hence the title: in/dependence. Social peace and order is dependent on the ability to appeal to the permanent rights and principles enshrined in the Constitution. Any attempts to manipulate these basic laws cause a sense of instability and insecurity in the society.
Other artists involved in the project: Janek Turkowski, Judit Ferreras, Malik Meyer.
Stole – embroidery on satin, 130 x 40 cm, 2015
I relate to the catholic doctrine which does not endorse same-sex relationships. Such relationships existed, exist and will exist, but as long as the church will not alter its position the persons living in such relationships will not have the same rights as the people living in heterosexual marriages. It applies to such rights as inheritance, as well as taking care of the partner.
Encoded 2, 90 x 130 cm, oil 2015
Encoded 1, 110 x 150 cm, oil 2015
Encoded – homosexual persons identified by codes. Paintings refering to the works of the American sexologist Kinsley.
Painted fox – fur, 2017
The item is presently in possession of Polish drag queen Aldona.
Magic mirrors – Installation in Kiel/Germany, 2016
Magic mirrors is the result of my participation in a project of the University of Kiel, which dealt with climate changes. The mirrors designed by me were increasing the space between the lines of the land and the sea, and were attracting attention to the problem of the rising sea level.
Blankets, acrylic on canvas, 2016
The project regards the refugees who arrive to Europe. The avant-garde inspired itself with other cultures, appropriating unto itself the visual aspect of their otherness. The current pop-culture similarly follows such ways of reception and ‘reading’ of other cultures. By studying this we can unveil the inequality of the societal relationship, including the often present condescension when dealing with foreigners.
The blankets are part of the first aid offered to the refugees. Noting their plaid patterns, I got association to the fashion industry trend for ponchos and shawls with etnic motives. Is this the only possible way to tame the ‘stranger’?
Acceptance 1 & 2, paper cuts in plexiglass, 100×140, 2017
Acceptance 3 & 4, trousers and suit in paper, 2017
The men’s trousers refer to the popular stereotype – “We know who wears the pants”. Paper, the material from which they are made, alludes to the fragility of these stereotypes as a result of growing societal awareness regarding the division of roles inside the family, at work, and in the modern world.
The paper cuts illustrate the mechanisms of Femininity. The segments are cut in a disciplined fashion in such a way that they fit together. Those attempts at fitting together, are for me a representation of visual “femininity”.
The ladies’ suit made of paper is the synonym of a modern woman. She can now wear a man’s outfit, showing her independence to the world. Simultaneously, the material from which it is made points to the inherent weakness of power to break against the normative image of a woman, created through the ages.
I came to the realisation of a need for mutual acceptance. Any attempt to change character of the partner is a waste of time. Two persons in a relationship have to constantly try to fully accept a loved one.
Head heavy, canvas-paper-oil-acrylic, 100 x 30 x 10 cm, 2013
This is a roll of a five-meter linen canvas, processed whith different substances such as oil paint, ash, water, sand. The canvas layers are separated by parchment. The roll, bound by belts, is an illustration of a head troubled with problems which can weigh the psyche down.
The item consists of a kitchen apron and two paintings. The paintings’ patern has been inspired by the print on the apron material, which was sewn by my grandmother when I was 10 years old.
Object 1 – gypsum 29 x 29 x 3 cm, 2013
Object 2 – gypsum 13 x 29 x 2,5 cm, 2013
Object 3 – grass sank in silicone, 16 x 17 x 0,7 cm, 2013