|Holiday of Silence (2008-2009)|
These photographs show empty parking lots near the shopping centers. Normally they are crowded with cars all the time except New Year’s Day, Easter Sunday and Christmas Day when the shopping centers are closed. The empty parking lots mean to me a record of something that will soon become past, once traditions are completely disobeyed and the shopping centers will be opened every single day.
|Art of Pornography (2008-2010)
Art of Pornography - Book
Art of Pornography is a tribute to Zbigniew Libera, Polish artist who exploits relativism in his work. All you can see in the photographs are screenshots from hard-core porn movies. I deliberately picked up “narrative parts” between the sexual scenes where some primitive storyline unfolds. Here I find moments that refer to famous works of art. Finding high art in low porn movies is an ironic way to undermine our common perception of artistic/aesthetical values.
|Untitled Landscape (2010)||
In Untitled Landscape I am dealing with the notion of illusion. First I created a virtual landscape in a computer and then tediously and precisely recreated the same landscape of sand. The real object made of sand is a mimesis - illusion of the original. But the original virtual landscape is also an illusion of the real (although non existing) landscape. Which one is more elusive then?
|Portrait of My Sister Julia (2011-2012)||
This work, although containing exclusively architecture and landscapes, is indeed a real portrait of my real sister (and as you can guess, Julia is her real name). The places and buildings depicted are somehow linked to events in her life, but this is not important for the viewer. Although her physical appearance is not shown, the viewer is still able to conceive the portrayed person more deeply, as a whole. The viewer’s imagination is not disturbed by physical characteristics of the portrayed person’s face, body or clothes; it is clean and thus more truthful.
|Untitled Nude Girls (2011-2012)||
In my most recent project I’m turning back to the roots of photography. Working with purely digital form, I try to explore the very basic process of perception. The photographs are larger-than-life-size, 1x1.5 m. The beholder experiences tabooized pictures of underage nude girls (which are in fact digitally manipulated photographs of adult persons), but at the same time, beautiful pictures in essence. He may also be embarrassed by not knowing what he is actually looking at: photographs, or drawings? I invite the beholder to realize and resolve these conflicts, and by doing so, become aware of his own perception and sensitive to his own feelings.