MONIKA SOSNOWSKA. CONCRETE
The works presented at the exhibition are a commentary on reinforced concrete, an element of modern architecture that is one of the main points of reference in Monika Sosnowska's work. In the artist's previous works, concrete in the form of rubble and single blocks referred to the destruction of modernist heritage and changes in the urban landscape after the political transformation. In the new works, the material begins to absorb each of the structures, while the steel rods serve as a skeleton for the monstrous tissue, whose surface, much like the surface of the skin, bears the marks of interaction with the environment.
In the process of creating the sculptures, concrete applied to steel is formed in holes dug in the ground due to its weight and long drying time. The whole process is purely technological, that is, it does not take into account the context of the place where the sculpture is created. The elements just after excavation and cleaning resemble constructed outliers, unrecognizable fragments of ruins. Steel, which in Sosnowska’s work is usually covered with a precise layer of paint, is only ground this time. The austere amorphous sculptures thus become a mutation of architecture that no longer provides shelter, but still co-determines the psychological experience of space.
PIOTR JANAS. BRAZEN-FACED
The central element of Piotr Janas's works is a study of the interaction between carnality and mechanics, expressed through a series of formal treatments on canvas. Suspended in undefined space, the irregular forms cut themselves off from specific references or functions. Images are a field of confrontation for opposing forces that lead to the distortion, disappearance and transformation of matter. The works are maintained in colours typical for the artist, dominated by purple, pink and red, which emphasises their organic character.
Brazen-faced (direct translation from Polish: copper forehead) as a phraseological compound denotes insolent, shameless, despicable and cynical behaviour in which a person says unacceptable things without showing shame or embarrassment and acts without scruples. In the Middle Ages, scoundrels and thieves had a defamatory mark burned on their foreheads with an iron, which accompanied them for the rest of their lives. In modern times, stigmatisation has become associated more with a symbolic dimension with new definitions of social harmfulness are emerging. One of the paintings in the exhibition features a barely visible face with a burnt forehead which, as the only figurative element, undermines the abstractness of the whole concept. The anxiety present in the paintings gains a new meaning. Who will now lose their honour?