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Bożenna Biskupska (Warsaw)
Ram (objects)

www.biskupska.pl

States of Existence of a Work of Art
Eastern Gallery is currently showing three works by Bozenna Biskupska, which are impressions based on the motif of tiles covered with hieroglyphic–like symbols, in three various "media states". In her work, the artist has already departed quite far from her initial fascination with figurativeness and emotional, expressive imaging. It is true that a simplified human figure present in the schematic representations are still reminiscent of the figure of The One–Legged (1987), but its function in the work is far from expression or analysis of the human condition.
The Packing (1999) represents already a successive creative stage, at which the artist not only attempts to condense the form but also to transform the work into other media states. Mrs. Biskupska belongs to a generation which made its debut towards the end of the post-avant-garde era. Just like her contemporaries, having been brought up by eminent avant-garde personalities, she creates on the border between two totally different epochs: Modern movement and its finishing stages and a new multimedia era, often referred to as cyberculture or information society. Art codes and artistic transfer in these not–at–all–such–novel circumstances impose certain restrictions on the traditional forms of expression and types of art, such as sculpture or painting.
The going beyond the traditional limits of painting is visible already in The Laying Out Of A Painting (1995), in the case of which the artist minimized the marks left by herself, restricting them to traces of her hand movement, an impression, a gesture. She "records" the processes of creation and existence of a work of art as an independent ontic being on light-sensitive film and video tape. The essence of the new medium appears not to interfere with the ontic of the "original work". The objects of concrete tablets/tiles with hieroglyphic-like signs impose their weight and original expression on their own light and unstable reflections on light–sensitive film. 343 representations of concrete tiles recorded on photographic slide film were locked up in a metal cage. Despite preserving the sculptural form – a three-dimensional object – the change of the medium results in crossing or even negating the states of existence of her work that have been created so far.
This unusually interesting formal game is played, as Biskupska's all creativity, between the illusion of a plane and the reality of space, including telematic space. The semantic area of the language of her art is enclosed within the real shape and traces of a gesture and a systemically repeated sign.
At Eastern Gallery there co–exist writing rhythms recorded on concrete tiles (19), reflections of 343 tiles "packed" in the form of photographic images in a monumental, metal "cage" and 343 portraits of the tiles on video tape. Every three seconds the picture shown on the monitor changes and a new tile is displayed. As in the case of the collection of concrete tiles photographed and "enclosed" within a spatial object the sequence of the images is of certain significance, also the signs covering the surface of a 7x7x7 tile have their symbolic and magical dimension. The exhibition at Eastern Gallery confirms that Mrs Biskupska has created her own, autonomic world, in which the habit of appreciating a work of art through the categories of the avant–garde values does not preclude the ability to experiment with the new cyberculture formula, without the need to reject such values. The essence of her work are the formal and structural aspects of the existence of artistic beings in a real or semi-real space, as a unique consequence of the previously existentially analyzed time, transitoriness and continuation of both human beings and works of art.

Elzbieta Koscielak

 


Demarcation of an image, concrete, steel, 40 x 26 x 4 cm


Demarcation of an image, concrete, steel, 40 x 26 x 4 cm


Ram, steel, negative, 300 x 230 x 230 cm

 


Ram, steel, negative, 300 x 230 x 230 cm


Ram, steel, negative, 300 x 230 x 230 cm





photo © Zygmunt Rytka