1/2 - Later and Slightly Earlier, acrylic on plasterboard, 2016
2/2 - Later and Slightly Earlier, acrylic on plasterboard, 2016
In 2015 she graduated from the Acade- my of Fine Arts in Warsaw. Visual artist, works with painting, which she combines with objects and installations. Participant of the first edition of Biennale de La Biche (2017) – the smallest contemporary art biennale in the world. Recipient of The Ministry of Culture and National Heritage Scholarship (2017). She often alludes to living spaces, as well as urban aesthetics and architec- ture. She mixes various painting techniques and materials, such as plasterboards, enamels, and varnishes.
In Later and Slightly Earlier, I have used plasterboards, popular in construction work. They serve as cheap and easy material for transforming any space, especially living space. The strategy of patching, covering or dividing space can be related to the space of memory. Layeredness appears fundamental here. It can be found in each of the works of the series pre- senting anonymous people placed on colourful planes. The colours refer to the aesthetics of Polish flats and the phenomenon commonly described as pasteloza (pastelosis) – a fast method of livening up city space, mostly resi- dential areas of bleak grey tower blocks, used at the beginning of the 1990s in Poland. As Filip Springer claims, the easiest way of changing the character of the surroundings, from socialist to capitalist, was to cover the massive construction panels with styrofoam and colourful paints.
Q: What made you choose plasterboard for your work?
A: With the help of plasterboard and styrofoam with paint, you can easily and cheaply modify any space, especially a living space. I used them in connection with the phenomenon of pastelosis, in context with everyday aesthetics in which we function. It was important to me that the works acquire the quality missing from the urban landscape and apartments. The whole project refers to memory. The strategy of altering spaces can be referred to memory, which, like transformed areas, has a layered structure. Just because we cover, separate or paint over something, does not mean that it no longer exists. Such radical mechanisms of dissociation – both physical and mental – can be risky and usually do not work.