fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart
fot. Grzegorz Mart

the machine was so impressed it collapsed unto itself

 

2017

 

curator: krzysztof siatka

 

place: bunkier sztuki gallery of contemporary art in cracow

 

beeswax, smoke

 

gallery space arrangement

fot. Grzegorz Mart
fot. Grzegorz Mart

At the heart of the artist’s reflection lies a dreamlike vehicle, known only to her and even then - only a little bit. The existence of the vehicle, revealed in a dream, is persistent and impels Justyna Mędrala to work on her own memory, which she digs through in the course of the artistic shaping of matter. Unfortunately, the recollection of the revelation becomes less clear as days go on - the machine model increasingly blurred, obscured, and filtered through images of subsequent days. A dream is subject to successive stages of forgetting. Former visions experienced during work are superseded by new ones. Contemplating an object that seemed real - but in reality was only an idea, imagined just once, just for a moment – turned into absorbing work and a separate story, detached from the original source. Using the pragmatic need to gain knowledge as a starting point, the artist continued her search and developed the story, which acquired its own logic, fuelled by further – rather psychic – passions. As a consequence, the artist created an obsessive visual story about… her obsession.

Justyna Mędrala’s working process was determined by searching, both in reality and her own memory. The search, devoid of common sense, is bordering on madness – its direction, despite whatever might be logical, is not provided by a pragmatic goal. In spite of herself, the artist overwhelms herself with an absurd quasi-archaeological process, using tools that are equally ridiculous. She engrosses herself entirely in working on ephemeral matter – fire and smoke, which she uses, unsympathetic to her own comfort and reason, to outline the shape of the machine. While describing in that manner the retained  
model of the vehicle and maybe also its function, paradoxically she moves away from it, bringing into being something entirely new, although equally unlike anything we could ever call a “mechanism”.

Krzysztof Siatka, curatorial text for the exhibition