Dr mgr inż. Wojciech
Kopeć rewievs the Paulina Niemczyk's work:
„The
artist explores the idea of Zygmunt Baumann, who unites an unprecedented
interest in the problem of identity (also in art) with a sudden change of
reference points, destabilizing the world of social groups, generating a sense
of threat. Moving through the artist in the space of collective memories (even
those most narrowed) is part of the artistic attitude in a broader context. Maurice
Halbwachs, the creator of the concept of "social memory", compared
the world of history to the ocean in which the outlet has all the partial
stories. This ocean may seem the universal history of mankind - only that it
does not exist, and the carrier of every collective memory is a spatially limited group.
Paulina
Niemczyk shows that the identity, she is looking for, is more a process than a
state. Discovering history is not digging up the pyramids. It is more like
building a house made of blocks. The artist does this by building and
rebuilding it her own way. The apparent "objectification" of
photography (more unification, giving a specific chromatic feature) are today's
activities. In part, it is an expression of meticulousness, in part a desire to
reject extremes, to smooth out. Non-figurative inspiration of Nowosielski's
geometric designs is an attempt to determine the border.
A
large part of the elements used by the artist in the objects uses a
transparency effect. Willingness to connect with or each other or with the
matter of wood is a way to show the influences of images and their contexts.
Transparency can be synonymous to the truth. Nothing covers / hides. It is
worth noting that the photographic image technique itself is associated with transmission
and absorption of light. The image, however, completely illuminated would be
empty - imageless.”
Photos by Mateusz Grymek
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