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Photography
is an especially important medium for her, treated as a significant part
of creative process, akin to a sketchbook, which allows her to rejestrate
new ideas, record various motifs. This preparatory stage of work is often
noticeable in the final result - photographic inspiration can be seen in the
way of cadrage and in the role that the light plays in her paintings. She makes
use both of photographs made during the working process as of these founded
before - for example in her old photo album. In her works, the effects of
mechanical recording are contrasted to an often applied technique of non finito
- an reference to an individual, inimitable artist's gesture. White primed
canvas combined with photographic cadrage - in this way the paintings become
some kind of meta-reflection on properties of exploited media. Much of
Szeszycka's work is concerned with everyday, ordinary subjects. An important
source of inspiration is also the work with her own memory. Closest
surroundings, well - known people, places, events, which represent to her load
of emotions, nourish her threads of creativity. They become preserved in form
of images, found in present day, private and public life or in memory. In her
paintings memories interwine with film stills, everyday scenes, fragments of
mass culture, intimate atmosphere with cultural clichees, hiperrealistic images
with fuzzy, blurred forms.
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Similar problems are explored by the artist in her video works.
Szeszycka says: "Video art became a natural development of my photographic
work, the main inspiration stays the same. It comes from closest
surroundings, from here and now. Than I just make a choice. It's like filtering
of surrounding world, without imposing any subjects". Subjects that are
most important and inspirational for her she finds owing to her working method:
she assumes that she always puts theories aside in favour of unrestricted
activity. Improvisation and spontaneity is also an artistic credo of the
artistic duet Weak Group: "We work together without taking aprioristic
assumptions of aesthetics and plot. We tell and report whats going within
and outside us. The record is made because it made us laugh with its absurd,
irrational combination of one thing and another, of something which should not
have happened at the same time or in chronological outcome. However, we do not
mean mechanical and intuitive contact with reality, with what's outside of us.
We are more about lifting barriers between rational and emotional, visible and
hidden. We do not want to create feature situations nor dogmatic messages. We
prefer movement and light, absurd and humor, we prefer what's between...".
That is where the choice of their subjects comes from: mulitploted impressions,
spontaneus studies of changing forms and meanings, unusual combinations. | |
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