Arms wilt from hunger like two lumps of dough
Is there a picture that you cannot look at because your larynx is constricted and you cannot breathe due to emotion? This is how a certain photography affects me, which I try to work through in a special way in this search. First, I computer generated a matrix of this monochrome photo, then I wrote down this numerical and numerical representation, in fragments, on various substrates. From the zero white to the two hundred and fifty-fifth black point – the image was “hidden” by me and will remain so, even for a computer, because the dividing lines between pixels are blurred in the handwriting. In my gesture, what is individual, touched and intimate meets with the cool, repetitive, abstract language of the scheme. I translate time relations into spatial relations and vice versa, avoiding photography full of outdated tenderness.
Plaster castings were inspired by Andrzej Pawłowski’s theory of naturally shaped form, and their shape was determined by the things at hand and home production, the core of which, i.e. the house, is of key importance here. The desire for a clean, geometric shape was not quenched by the form from old linen bags and cardboard boxes, and it was also contradicted by a hollow, which was a trace of a tightly clenched fist. A setting cast wants to cuddle when it becomes pleasantly warm for a moment. Cooled down, he takes on a stone character and asks for confirmation of his status in the eyes of Medusa. Dreamy snakes in photos from someone’s world also writhe at our feet in the form of an unsent letter displayed on advertising LEDs. Snakes are curious, they shed their skin when it gets too tight and doesn’t let them grow. In the context of the above-mentioned topic, the screen and projection are important, as well as recalling the phenomenon of hidden mothers who sooth and calm the photographed children by touch.
I borrowed the title from Stanisław Grochowiak.