All artworks by Martyna Benedyka
The Mother’s Diary • 1 artwork
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Open Your Eyes - On The Border • 5 artworks
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Kintsugi • 2 artworks
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Kintsugi is the Japanese art of repairing broken pottery by mending the areas of breakage. After my [...]
Kintsugi is the Japanese art of repairing broken pottery by mending the areas of breakage.
After my recent surgeries, I thought of the concept of kintsugi as a perfect technique to mend my body and soul and overcome the feeling of loss. This work allowed me to accept my precious scars which I was left with and treat each of them as a unique break that soon would be filled.
The images correspond with each other in a similar way to our body and being. It is a never-ending conversation: light – dark, day – night, shapes, lines, dots and spots, deep breaths, in and out, like the curtain and the wind.
Revolving around the topic of the human body and mind, Kintsugi is a black and white photography journey through the process of healing and searching for the essence of resilience.
After my recent surgeries, I thought of the concept of kintsugi as a perfect technique to mend my body and soul and overcome the feeling of loss. This work allowed me to accept my precious scars which I was left with and treat each of them as a unique break that soon would be filled.
The images correspond with each other in a similar way to our body and being. It is a never-ending conversation: light – dark, day – night, shapes, lines, dots and spots, deep breaths, in and out, like the curtain and the wind.
Revolving around the topic of the human body and mind, Kintsugi is a black and white photography journey through the process of healing and searching for the essence of resilience.
The Beautiful Within The Sublime • 4 artworks
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The Beautiful Within The Sublime by Martyna Benedyka If black and white blend, soften, and unite A thousand [...]
The Beautiful Within The Sublime
by Martyna Benedyka
If black and white blend, soften, and unite
A thousand ways, is there no black and white?
Alexander Pope [1]
I have always been fascinated by the fact that we can never fully comprehend the magnitude of the gigantic monuments, landscapes, or creatures due to their size or beauty, let alone the vastness of the universe. This inability to judge and sometimes to separate beauty and an almost malevolent, yet elegant, sublime and its infinity, inspired me to explore the two types of aesthetic experience in response to painting.
The origins of the word sublime, which comes from the Old French limite (a boundary) and the Latin sublimis (lofty, eminent, distinguished), paint an intriguing picture of how the sublime [das Erhabene] became a boundless form, a phenomenon revealing our powerlessness in determining any limits to what we encounter.
In his philosophical treatise The Critique of Judgment, German philosopher Immanuel Kant argued that beauty and sublimity must coexist in art. This contrasts with Irish thinker Edmund Burke who said that sublime and beautiful are mutually exclusive. They then agreed that the sublime is monumental and simple, while the beautiful must usually be small and ornate. However, unlike Kant, Burke argued that the sublime is the most powerful physical experience, rooted in the senses rather than the power of reason.
When speaking of beauty, Kant saw it as purposiveness without purpose [Zweckmäßigkeit ohne Zweck]. What is surprising is how the philosopher claims that beautiful objects have certain (splendid) visual properties, such as symmetry, and should therefore be seen as having a purpose, albeit one that is not specific. The sublime, on the other hand, is what he describes as chaotic and unstructured, something that frightens us, that is actually purposeless. It follows that he expands on Burke’s concept that beauty is a pure and refined quality, similar to a very smooth and fragile object, whereas the sublime remains dark and terrifying.
Whereas the beautiful is limited, the sublime is limitless, so that the mind in the presence of the sublime, attempting to imagine what it cannot, has pain in the failure but pleasure in contemplating the immensity of the attempt.
Immanuel Kant [2]
The sublime in Kant's perception is found in formless, suprasensory and infinite objects, in which we find both pain and pleasure. The shape of the object we observe can seem pleasurable, evoking thoughts of purity and harmony, as well as what the philosopher himself called negative pleasure (pleasure which is possible only by means of a displeasure [3]).
Burke, in turn, separated the two, pointing out that beauty can only result from pleasure, whereas pain must originate from the sublime. However, he believed that in specific circumstances, perhaps when overwhelmed by the infinite, we are able to feel a delightful horror akin to joy.
When danger or pain press too nearly, they are incapable of giving any delight, and are simply terrible; but at certain distances, and with certain modifications, they may be, and they are, delightful, as we every day experience.
Edmund Burke [4]
In the context of infinity and eternity, pleasure, pain and even death, the Rorschach mirror effect comes to mind. This test, developed by Swiss psychiatrist and psychoanalyst Hermann Rorschach, is used by psychologists to test personality traits. Test participants are shown a series of inkblots that reflect shapes and objects in order to reveal a deeper sense of the most poignant or distressing memories.
Here I have used this concept to contemplate unusual idiosyncrasies, similar to experiencing the (subjective) beauty in the sublime. The perspective can shift in an instant, connecting to very personal, often vulnerable, fragments of life amidst the realm of imagination and the realm of the mind, amidst the beautiful and the horrific.
Beauty is present in the mixture of predictable and chaotic situations, occasionally tense but shielded from potential danger. I often avoid acknowledging that it has a limited form due to its structure. Diversity, uniformity, and imperfection must all be present within its confines.
Immersing myself in the sensory experiences of beauty leads to the gradual breaking down of those feelings as the sublime is triggered. Investigating their boundaries to understand how they relate to painting under the Kantian and Burkean philosophies can be likened to painting passionately at times, a sensation that is both unsettling and breathtaking, attempting to reduce terror in search of the ideal sublime. It is irrefutable that the combination of imperfect beauty and perfect sublimity can evoke profound and mysterious inner experiences.
Certain paintings may appear weighty and emit a sense of dullness. Nevertheless, by including intricate elements, they draw the viewer into a space characterized by a balanced blend of beauty and the sublime. Just like philosophy, painting does not provide definite answers, if it provides any at all, and that aspect intrigues me.
The act of painting transforms into an eternal ritual, a private universe that can be as overwhelming as the awe-inspiring monumental landscapes. Trying to adorn and outline the immensity may result in futility.
In these intimately scaled paintings, I feel compelled to reinterpret both philosophical ideas, almost deconstructing the aesthetics to reflect on the perception of harmony and chaos, without losing focus.
In the greatness and obscurity of things, I concentrate on the power of a sole picture or memory until it becomes a hallucinatory scene, similar to silently gazing at a nonexistent ocean horizon, and I dwell on the beautiful in the sublime.
Text: Martyna Benedyka
by Martyna Benedyka
If black and white blend, soften, and unite
A thousand ways, is there no black and white?
Alexander Pope [1]
I have always been fascinated by the fact that we can never fully comprehend the magnitude of the gigantic monuments, landscapes, or creatures due to their size or beauty, let alone the vastness of the universe. This inability to judge and sometimes to separate beauty and an almost malevolent, yet elegant, sublime and its infinity, inspired me to explore the two types of aesthetic experience in response to painting.
The origins of the word sublime, which comes from the Old French limite (a boundary) and the Latin sublimis (lofty, eminent, distinguished), paint an intriguing picture of how the sublime [das Erhabene] became a boundless form, a phenomenon revealing our powerlessness in determining any limits to what we encounter.
In his philosophical treatise The Critique of Judgment, German philosopher Immanuel Kant argued that beauty and sublimity must coexist in art. This contrasts with Irish thinker Edmund Burke who said that sublime and beautiful are mutually exclusive. They then agreed that the sublime is monumental and simple, while the beautiful must usually be small and ornate. However, unlike Kant, Burke argued that the sublime is the most powerful physical experience, rooted in the senses rather than the power of reason.
When speaking of beauty, Kant saw it as purposiveness without purpose [Zweckmäßigkeit ohne Zweck]. What is surprising is how the philosopher claims that beautiful objects have certain (splendid) visual properties, such as symmetry, and should therefore be seen as having a purpose, albeit one that is not specific. The sublime, on the other hand, is what he describes as chaotic and unstructured, something that frightens us, that is actually purposeless. It follows that he expands on Burke’s concept that beauty is a pure and refined quality, similar to a very smooth and fragile object, whereas the sublime remains dark and terrifying.
Whereas the beautiful is limited, the sublime is limitless, so that the mind in the presence of the sublime, attempting to imagine what it cannot, has pain in the failure but pleasure in contemplating the immensity of the attempt.
Immanuel Kant [2]
The sublime in Kant's perception is found in formless, suprasensory and infinite objects, in which we find both pain and pleasure. The shape of the object we observe can seem pleasurable, evoking thoughts of purity and harmony, as well as what the philosopher himself called negative pleasure (pleasure which is possible only by means of a displeasure [3]).
Burke, in turn, separated the two, pointing out that beauty can only result from pleasure, whereas pain must originate from the sublime. However, he believed that in specific circumstances, perhaps when overwhelmed by the infinite, we are able to feel a delightful horror akin to joy.
When danger or pain press too nearly, they are incapable of giving any delight, and are simply terrible; but at certain distances, and with certain modifications, they may be, and they are, delightful, as we every day experience.
Edmund Burke [4]
In the context of infinity and eternity, pleasure, pain and even death, the Rorschach mirror effect comes to mind. This test, developed by Swiss psychiatrist and psychoanalyst Hermann Rorschach, is used by psychologists to test personality traits. Test participants are shown a series of inkblots that reflect shapes and objects in order to reveal a deeper sense of the most poignant or distressing memories.
Here I have used this concept to contemplate unusual idiosyncrasies, similar to experiencing the (subjective) beauty in the sublime. The perspective can shift in an instant, connecting to very personal, often vulnerable, fragments of life amidst the realm of imagination and the realm of the mind, amidst the beautiful and the horrific.
Beauty is present in the mixture of predictable and chaotic situations, occasionally tense but shielded from potential danger. I often avoid acknowledging that it has a limited form due to its structure. Diversity, uniformity, and imperfection must all be present within its confines.
Immersing myself in the sensory experiences of beauty leads to the gradual breaking down of those feelings as the sublime is triggered. Investigating their boundaries to understand how they relate to painting under the Kantian and Burkean philosophies can be likened to painting passionately at times, a sensation that is both unsettling and breathtaking, attempting to reduce terror in search of the ideal sublime. It is irrefutable that the combination of imperfect beauty and perfect sublimity can evoke profound and mysterious inner experiences.
Certain paintings may appear weighty and emit a sense of dullness. Nevertheless, by including intricate elements, they draw the viewer into a space characterized by a balanced blend of beauty and the sublime. Just like philosophy, painting does not provide definite answers, if it provides any at all, and that aspect intrigues me.
The act of painting transforms into an eternal ritual, a private universe that can be as overwhelming as the awe-inspiring monumental landscapes. Trying to adorn and outline the immensity may result in futility.
In these intimately scaled paintings, I feel compelled to reinterpret both philosophical ideas, almost deconstructing the aesthetics to reflect on the perception of harmony and chaos, without losing focus.
In the greatness and obscurity of things, I concentrate on the power of a sole picture or memory until it becomes a hallucinatory scene, similar to silently gazing at a nonexistent ocean horizon, and I dwell on the beautiful in the sublime.
Text: Martyna Benedyka
In Memory Of My Feelings • 3 artworks
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Italian Drawings
The Sublime • 12 artworks
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Another source of the sublime is infinity; if it does not rather belong to the last. Infinity has a [...]
Another source of the sublime is infinity; if it does not rather belong to the last. Infinity has a tendency to fill the mind with that sort of delightful horror, which is the most genuine effect, and truest test of the sublime. There are scarce any things which can become the objects of our senses, that are really and in their own nature infinite. But the eye not being able to perceive the bounds of many things, they seem to be infinite, and they produce the same effects as if they were really so. We are deceived in the like manner, if the parts of some large object are so continued to any indefinite number, that the imagination meets no check which may hinder its extending them at pleasure. Whenever we repeat any idea frequently, the mind, by a sort of mechanism, repeats it long after the first cause has ceased to operate. After whirling about, when we sit down, the objects about us still seem to whirl. After a long succession of noises, as the fall of waters, or the beating of forge-hammers, the hammers beat and the waters roar in the imagination long after the first sounds have ceased to affect it; and they die away at last by gradations which are scarcely perceptible. If you hold up a straight pole, with your eye to one end, it will seem extended to a length almost incredible. Place a number of uniform and equidistant marks on this pole, they will cause the same deception, and seem multiplied without end. The senses, strongly affected in some one manner, cannot quickly change their tenor, or adapt themselves to other things; but they continue in their old channel until the strength of the first mover decays.
(1757)
A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
Edmund Burke
The concept of the sublime in philosophical aesthetics and art history is mainly understood as the quality of greatness. Edmund Burke, an Irish-born philosopher, claimed that the sublime is the most powerful experience. He also argued that sublimity and beauty were mutually exclusive. Burke presented his theory that beautiful objects are small and delicate, while sublime ones are dark and terrifying.
Fascinated by this concept, I have chosen a series of different-sized paintings which touch on themes of monumentality as an aura of greatness, and little beauties in our lives that are inseparable from their fragility.
One of the sources of sublimity is infinity. Exploring the infinite, we experience a deeper, often unforgettable, sense of wonder. Here, the infinity is realized through cropped compositions, blackness, repetition, and the potential to evoke a mixture of emotions and feelings in the viewer.
According to Burke, beauty brings relaxation and sublimity brings tension. The paradox of the sublime arises when we find peace in the things that overwhelm us. Both captivate us, despite the dangers. I decided to express the sublime and the infinite, referring to the sense and power of the image in the real world. Depriving it of details, a rather enigmatic selection of paintings evoke notions of the sublime as an aesthetic experience and a monumental vision that strikes the viewer with power and raises the boundless question of whether the sublime in art can coexist with beauty.
(2023)
Martyna Benedyka
(1757)
A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
Edmund Burke
The concept of the sublime in philosophical aesthetics and art history is mainly understood as the quality of greatness. Edmund Burke, an Irish-born philosopher, claimed that the sublime is the most powerful experience. He also argued that sublimity and beauty were mutually exclusive. Burke presented his theory that beautiful objects are small and delicate, while sublime ones are dark and terrifying.
Fascinated by this concept, I have chosen a series of different-sized paintings which touch on themes of monumentality as an aura of greatness, and little beauties in our lives that are inseparable from their fragility.
One of the sources of sublimity is infinity. Exploring the infinite, we experience a deeper, often unforgettable, sense of wonder. Here, the infinity is realized through cropped compositions, blackness, repetition, and the potential to evoke a mixture of emotions and feelings in the viewer.
According to Burke, beauty brings relaxation and sublimity brings tension. The paradox of the sublime arises when we find peace in the things that overwhelm us. Both captivate us, despite the dangers. I decided to express the sublime and the infinite, referring to the sense and power of the image in the real world. Depriving it of details, a rather enigmatic selection of paintings evoke notions of the sublime as an aesthetic experience and a monumental vision that strikes the viewer with power and raises the boundless question of whether the sublime in art can coexist with beauty.
(2023)
Martyna Benedyka
Latest Artworks • 31 artworks
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Recognition
Award Winning
The artist has won prizes and awards
The artist has won prizes and awards
Art Education
The artist studied the arts through his academic studies
The artist studied the arts through his academic studies
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The artist's works have been noticed by the editorial staff
Presented in Art Fairs
The artist participates in art shows and fairs
The artist participates in art shows and fairs
Biography
Martyna Benedyka is a contemporary Polish artist, born in 1991, known for her multidisciplinary approach as a visual and sound artist, painter, photographer, coloratura soprano, and teacher. Her artistic practice spans a wide range of media, including painting, photography, collage, installation, video, field recording, and sound art, with a focus on themes of existence, memory, and beauty.
She holds a First Class BA with Honours Degree in Fine Art Painting from Gray’s School of Art in Scotland, UK, and has studied Voice and Performance, Opera and Oratorio, Pedagogy, and Baroque Singing at the Jāzeps Vītols Latvian Academy of Music and the George Enescu National University of Arts. Benedyka's work has been exhibited internationally in countries such as the UK, Italy, Germany, Austria, Ireland, Denmark, Poland, Czechia, Romania, Estonia, South Korea, Switzerland, Australia, Canada, and the USA. Her work was selected for the Federation of British Artists' Futures, the UK's largest annual survey of emerging contemporary figurative art at the Mall Galleries, London. In 2022, she was recognized as a winner by Futures Photography in Amsterdam, The Netherlands.
Benedyka's artistic approach is rooted in the exploration of existence and perception. She often paints fragments of objects, suggesting that partial depictions can express as much, if not more, than a complete image. She likens the unique quality of photographic prints, where no two are identical, to her painting process, emphasizing the fragility and uncertainty of memory. Her paintings, modest in scale and subject, aim to capture fleeting moments of distorted reality, transforming memories through painted surfaces.
Through her work, Benedyka examines the essence of people and objects, using the camera as a bridge between detailed representation and personal interpretation. Her artworks function as poetic fragments, encouraging viewers to slow down and appreciate the beauty of everyday life. Her process involves cumulative observation, leading to some motifs being endlessly repeated while others fade away. This diversity reflects her central artistic goal: to explore what lies beyond the visible, inviting a deeper engagement with the world around us.
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Nationality:
POLAND
- Date of birth : 1991
- Artistic domains:
- Groups: Contemporary Polish Artists
Ongoing and Upcoming art events
No data available yet
Influences
Education
2024 - 2024
Early Music - Baroque Singing, Jazeps Vitols Latvian Academy of Music
Riga,
Latvia
2010 - 2014
First Class Bachelor of Arts with Honours Fine Art Painting, Gray's School of Art
Aberdeen,
United Kingdom
Artist value certified
No data available yet
Achievements
Prizes and Awards
2024
Winner Of The Artist In Residence Niederösterreich
Krems,
Austria
2023
Winner Of The Culture Moves Europe Mobility Grant
Brussels,
Belgium
2023
Winner Of The Heather B. Mattera Opportunity Scholarship
NYC,
United States
2022
Winner Of The Futures Photography Artist Membership
Amsterdam,
Netherlands
2022
Winner Of The At Home In Hundorf Art Residency
Hundorf,
Romania
2014
Winner Of The Robert Brough Memorial Scholarship
Aberdeen,
United Kingdom
2009
Scholarship For Artistic Achievements
Gdynia,
Poland
2003
Presidential Scholarship
Gdansk,
Poland
Collective Expositions
2024
Anonymous Drawings, Kunstraum Kreuzberg/Bethanien
Berlin,
Germany
2024
Playing With Reality, Collage Festival 2024, Bucharest Collage Collective
Bucharest,
Romania
2024
The Killed Book, Phmuseum Days 2024, Festival Internazionale Della Fotografia, Dumbo Spazio Bianco
Bologna,
Emilia-Romagna,
Italy
2024
Glimpse, Open Studio, Air Niederösterreich,
Krems an der Donau,
Austria
2024
They Are Watching, Gallery25
Perth,
Australia
2024
A Testament To Loss, Too Tired Project
United States
2024
The Object Of Scorn, Issp Riga Residency, Bolderaja
Riga,
Latvia
2024
Museum Of Repairing Reminiscences, Jamshed Memorial Hall
Karachi,
Pakistan
2023
Untitled #1, Exposed Torino Foto Festival, C2C Festival, Ogr Torino
Turin,
Italy
2023
Strange Times And Improbable Encounters, Tanners’ Bastion
Targu Mures,
Romania
2023
Unveiling Structures, De Structura, Juxtapose Art Fair, Godsbanen
Aarhus,
Denmark
2023
Tsundoku Art Book Fair, The Printworks, Dublin Castle
Dublin,
Ireland
2023
Unveiling Structures, De Structura, Kogo Gallery
Tartu,
Estonia
2023
Past &Amp; Present, Der Greif, Pavillon 333 At Pinakothek Der Moderne And Zirka
Munich,
Germany
2023
Dance In Collages, Jazz Dance Open
Pardubice,
Czechia
2023
36. Stuttgarter Filmwinter Festival For Expanded Media
Stuttgart,
Germany
2023
Eureka, Donggang International Photo Festival, Photography Museum
Yeongwol,
South Korea
2022
De Structura
Tallinn,
Estonia
2022
Eureka, Donggang International Photo Festival, Photography Museum
Yeongwol,
South Korea
2021
Attempt
Kalisz,
Poland
2021
National Art Salon
Braila,
Romania
2020
Parade Of The Schwittersț Army
Sanquhar,
United Kingdom
2020
On The Table
Glasgow,
United Kingdom
2020
Poem Vizual Ii
Iasi,
Romania
2020
Together We Are One
Zurich,
Switzerland
2020
Open Art
London,
United Kingdom
2018
The Sketchbook Project
New York,
NY,
United States
2018
Big Village, Small World
Dublin,
Ireland
2018
Themersons 5
Plock,
Poland
2017
The Artbox Project
Basel,
Switzerland
2017
Artoteka
Wroclaw,
Poland
2016
Day Of The Dead
Santa Fe,
NM,
United States
2016
Apricity
Montrose,
United Kingdom
2016
Oliva In Painting
Gdansk,
Poland
2015
Waves
Edinburgh,
United Kingdom
2015
Federation Of British Artists - Futures
London,
United Kingdom
2015
A To/From B
Aberdeen,
United Kingdom
2014
Opening Credits
Edinburgh,
United Kingdom
2014
Open Your Eyes
Aberdeen,
United Kingdom
2014
Artsyland 8
Montrose,
United Kingdom
2013
Stars In My Eyes
London,
United Kingdom
2012
Spd Annual Painting Awards
Aberdeen,
United Kingdom
2012
The Seven Habits Of Highly Anomalous People
Aberdeen,
United Kingdom
Permanent Collections
2020
Merz Gallery
Sanquhar,
United Kingdom
2018
Brooklyn Art Library
New York,
NY,
United States
2018
Plocka Art Gallery
Plock,
Poland
Residencies
2025
Openbach
Paris,
France
2024
Air Niederösterreich
Krems an der Donau,
Austria
2024
Issp Riga Residency
Riga,
Latvia
2023
At Home In Hundorf,
Hundorf,
Romania
2022
De Structura, Forum
Tallinn, Narva,
Estonia
2022
The Order Of Things
Self-Directed,
Greece
2021
In Ruins Residency
Squillace,
Calabria,
Italy
2020
Cel Del Nord
Barcelona,
Spain
2020
Artalpha Iasi Art Residency
Iasi,
Romania
Solo Expositions
2024
Interpiktorial, Duo Show With Henriette Leinfellner, Kunstraum Arcade, Beethovenhaus,
Mödling,
Lower Austria,
Austria
2023
The Sublime
Iasi,
Romania
2020
Rest Here
Iasi,
Romania
2019
Return
Warsaw,
Poland
Activity on ArtMajeur
Last modification date : Aug 3, 2025
(Member since 2021)
Image views: 62,201
Artworks by Martyna Benedyka added to favorite collections: 52
Latest News
All the latest news from contemporary artist Martyna Benedyka
Added Feb 26, 2025
You can now preorder my new Photobook!
https://shop.snap-collective.com/collections/coming-soon/products/the-killed-book-by-martyna-benedyka
Thursday
27
February
2025
Wednesday
12
March
2025
Get Yours!
Added Feb 17, 2025
Preorders of my new book will start next week!
Thursday
27
February
2025
Wednesday
12
March
2025
Happy to share that I’ll be publishing my book with the Snap Collective! 📚 Preorders will start next week—more details coming soon! Stay tuned! 👀
Added Dec 3, 2024
Anonymous Drawings
Kunstraum Kreuzberg/Bethanien, Mariannenplatz, Berlin-Sector Friedrichshain-Kreuzberg, Germania
Saturday
16
November
2024
Sunday
12
January
2025
You can now purchase my drawing "Aus Liebe" at the Kunstraum Kreuzburg/ Bethanien, Berlin, Germany as well as buy it online here:
https://www.anonyme-zeichner.de/en/drawings-2024/2
Added Nov 4, 2024
Subscribe to my Newsletter!
Added Sep 1, 2024
Interpictorial, Duo Show
kunstraumarcade, Hauptstraße, Mödling, Austria de Jos, Austria
Saturday
12
October
2024
Saturday
16
November
2024
Added Jul 13, 2023
My Photobook "Kintsugi" now available
Dublin Castle, Dame Street, Dublin 2, Ireland
Thursday
13
July
2023
Sunday
16
July
2023
Available online:
https://www.thelibraryproject.ie/products/kintsugi-martyna-benedyka
and at Tsundoku Art Book Fair - PhotoIreland Festival
13-16 July 2023
10 AM - 5 PM
Added Jul 2, 2023
The Sublime Solo Show
Dan Hatmanu Gallery
Tuesday
27
June
2023
Tuesday
18
July
2023
Added Nov 15, 2022
Added Aug 17, 2022
Added Aug 17, 2022
Winner of DIPF 2022, South Korea
Donggang International Photo Festival South Korea
Friday
22
July
2022
Friday
30
June
2023
www.martynabenedyka.com
www.dgphotofestival.com
Martyna Benedyka: Double Portrait
Added Apr 4, 2022
Guest Artist Talks
March - April 2022
Visiting Artist at Confluence II - Online Artist Residency in collaboration with, inter alia, the i.e. Art Projects and the School of the Arts (SOTA), USM, Penang, Malaysia
Added Apr 4, 2022
Added Feb 21, 2022
Added Feb 14, 2022
In Memory Of My Feelings Solo Show
i.e. Art Projects
Monday
14
February
2022
Sunday
6
March
2022
https://artspaces.kunstmatrix.com/en/exhibition/9256834/in-memory-of-my-feelings
https://issuu.com/martynabenedyka/docs/in_memory_of_my_feelings-martyna_benedyka
Added Oct 13, 2021
Splits, Oil on Wood
Added Oct 8, 2021
Added Sep 24, 2021
Artist Interview #1
KINTSUGI 
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