/+ - ∞
/Esprit de corps
/a fleeting peripheral phenomenon
/Places of Sacrifice
/Maria Szymańska-Korejwo, Ciało doskonale czarne.
/Aurelia Nowak, Sanatorium.
/Laundry Lung interview by Joanne Ambia.
/Agata Dąbrowska, Ciało - obiekt - relikwia.
/Aleksandra Gieczys-Jurszo, W pułapce subiektywizmu.
/Joanna Tokarczyk, Artysta jako genius loci.
Maria Szymańska-Korejwo, Blackbody
painting Forest Scene I, part of a painting
triptych that shows three different situations against a forest
an important factor for the project’s origin. These are threads taken
artist’s personal biography, but their role is not just simply
it is an attempt to illustrate ideas that transcend the categories of
biography, that exist, as it were, beyond a certain place and time. The
painting in the series shows a forest landscape, above which we can see
square–another important exhibition motif. A black square, a circle and
appear in a number of works here, surrounded by gently outlined
nature: forest plants and animals, a smouldering bonfire. These are
borrowed from Kazimir Malevich’s “feelings of the world as
take on a multidimensional, transcendental and elusive dimension in
and intertwine: the artist’s actual medical experiences
pertaining to her own body that
make her art distinctively personal; the issue of corporeality as an
inseparable part of the organic, which is subject to its laws and
still full of barely felt existential mysteries; an attempt to make out
essence of experiences on the borderline between material reality and
metaphysical world and to express it with visual means. Biographical
come up in many of the compositions, which often combine abstract and
representational elements, often their form alludes to a religious
accompanies the secular subject matter of the evoked situations, places
events. At the semantic level we can be intrigued by the recurring
of nature, especially the motif of the forest: a holy, mysterious and
place in the “borderland between worlds,” a symbol of the soul, of
that provides shelter and safety, complemented by the soothing
its “fruit”: medicinal herbs. On the other hand the forest, as a
wild animals that is not subject to human control and as the “domain of
supernatural beings,” reveals the tempting threat of communing with the
of the irrational that leads to anxiety or fear of going astray or
in the unknown. We also experience this semantic dualism when we look
another motif that is important in Natalia Szostak’s art: the motif of
source of all visibility, the symbol of God, life and happiness, which
be a flame that brings destruction or infernal suffering.
art, full of solemnity, serenity and intimacy is an
projection of psychological states onto practically every medium
today. Her art triggers a kind of emotional tension, a certain
about the complexity and ephemerality of the human condition and the
inevitability of passing.
The title Blackbody is a term borrowed from quantum physics that denotes an idealised body that absorbs all incident electromagnetic radiation; such a body does not exist in reality. Therefore, it serves the descriptive role of a phenomenon known only as a hypothesis and is a counterpoise to everything that is material, visual and terrestrial.