POOL #302. AFTER DAVID HOCKNEY (2010) Photography by Marta Lesniakowska

Photography, 15.8x15.8 in
$2,476.2
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This artwork appears in 6 collections
Fotografia z mojej serii minimal art. Monochromatyczny obraz zbudowany na mocnym kontraście białe-czarne i ostrym cięciu kadru po przekątnej, balansuje na granicy abstrakcji. Prowadzi wieloznaczną grę z przestrzenią i sensami binarnych opozycji: jako granica między lądem i wodą, bielą i czernią, światłem i mrokiem, życiem i śmiercią, ying i yang, kobiecym [...]
Fotografia z mojej serii minimal art. Monochromatyczny obraz zbudowany na mocnym kontraście białe-czarne i ostrym cięciu kadru po przekątnej, balansuje na granicy abstrakcji. Prowadzi wieloznaczną grę z przestrzenią i sensami binarnych opozycji: jako granica między lądem i wodą, bielą i czernią, światłem i mrokiem, życiem i śmiercią, ying i yang, kobiecym i męskim, ego i superego … Perspektywa fotografa-widza, stojącego „za” obrazem, po stronie „białej” na krawędzi czarnej wodnej głębi zaburza poczucie bezpieczeństwa i, jak w innych moich fotografiach z serii „Baseny”, niepokoi pozornym bezruchem. Każe pytać: co naprawdę pokazuje to zdjęcie? Czy jest „świadkiem” jakiegoś mrocznego zdarzenia? Na poły abstrakcyjna fotografia staje się thrillerem psychologicznym o freudowskim podłożu, fotosem z kina noire lub ilustracją powieści detektywistycznej (ml).

A photograph from my minimal art series. The monochromatic image, built on a strong black-white contrast and a sharp diagonal cut of the frame, balances on the border of abstraction. It conducts an ambiguous game with space and the meanings of binary oppositions: as a border between land and water, black and white, light and darkness, life and death, ying and yang, feminine and masculine, ego and superego... The perspective of the photographer-viewer standing "behind" the image, on the "white" side, on the edge of the black water depths, disturbs the sense of security and, as in my other photographs from the "Swimming Pools" series, disturbs with its apparent stillness. It makes us ask: what does this photograph really show? Is it a "witness" of some dark event? Half-abstract photograph becomes a psychological thriller with Freudian background, a still from the cinema noire or an illustration from a detective novel (ml).

Collector's photography, b / w. Digital print on Hahnemühle Photo Rag Baryta 315g (semi-flash), archival paper, acid-free. reference number on the reverse . dated 2010/print 2022 - life time print. Format 40x40 cm in the image light, with 50x50 cm frame. Not glued. No frame. Certificate of Authenticity. Without damages. Ref. archive file: _MG_0302_1.raw
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Marta Lesniakowska is an artist photographer but also, at the same time, historian and art critic, she does research on visual culture. This is what determines his approach to photography: a strategy of the “look [...]

Marta Lesniakowska is an artist photographer but also, at the same time, historian and art critic, she does research on visual culture. This is what determines his approach to photography: a strategy of the “look that remembers”, which recalls familiar images from the history of art in order to transmit/intertextualize them. Her dialogue with them consists in asking herself if it is possible to evoke their meanings and what they are or can be today. She is fascinated by light - its role in the construction of the image, the parergon that creates the image. This is why, in street photography, she analyzes the interplay of light and dark, the relationship between sharpness and blur and the interpenetration of images as simultaneous realities. In this way, she brings out the mysterious character of the city, referring to the aesthetics of black cinema and to the master of 20th century street photography, Saul Leiter.(ml)

When she takes photographs, nothing is more or less important to her; his gaze is often governed by the principles of minimalist poets: an economy of detail, the discovery of subtexts and insinuations hidden in invisible objects and bits of everyday reality.

Marta Lesniakowska lives and works in Poland. His works are part of public collections (National Museum in Wroclaw, Museum of Bydgoszcz) and private collections (Netherlands, Denmark, Germany, Sweden, Switzerland, United States).

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