Real. Private. Genuine
The Six and a Half exhibition by Iwona Zawadzka has offered an analysis of the imaginary experience dominated by the aesthetic excess of contemporary elements. The artist has recognized mechanism of illusions and delusions that frequently guide imagination.
She has been interested situation of the subject projecting his own illusions when faced with danger, isolation, reduction and an instrumental approach.
The painter has collected her own images in the privacy of her home which – separated from the aggressive outside world – seem innocent and authentic. The not precisely defined gestures are visible under a veil of an intimate déshabillé and house chores. A private photo album, composed of a series of girlish postures, is the place to identify female body language. The artist has specifically codified this. She has taken out figures out of their context, combined them into new, separate idol group images, and finally transferred these onto the canvas.
The exhibition title, Six and a Half, is a metaphor referring to numeric coding of images by means of algorithms. Only model data have been introduced into the canvas space; they form moving, contrasting outlines filled in with color. They have been multiplied into an unlimited number of representations attempting to replace mother patterns. The hyperactivity of subject develops a private simulacrum containting rhythmical sequences of quasi – females, open to constant changes and transformations. The subject fixed to outgoing data, however, retains no contact with a source object. If one is to look for a certain set of the notions codifying this art, one should go to the aesthetic rules of mis-en-page related to the composition of planes, drawing, typography and digitally generated images. This aesthetics resembles a game in cut-outs, light and easy, in contrast to the opposite trend of mis-en-scène. Its purpose is fast materialization of mental vision and concepts.
Girls dressed in gym leotards are approaching the enigmatic spectrum – characters from the canvas The Sneaking In. The illusory, phantasm like target – that breaks human intestines – is to claim them shortly (The Sneaking In II). The works by the artist put a viewer in the position of separating the reality form the Real. The spectral absorption, just as desires satisfactions, turns out to be incomplete and bringing no fulfillment. It merely stimulates energy fields of desire which permeate and stigmatize the body. As a result, partial object appear, autonomic organs with no body, the desires with no definite purpose, demanding to be fulfilled. The phantasm like Reality, in its purest form, provides the moving rhythm for these works. This is quite visible in the Rainbows, where a color spectrum holds all female characters in vertical positions in the state of being suspender over the ground, in the mood of melancholic submissiveness. Their hands raised in a gesture of surrender are an attempt to exceed the canvas framework to reach the real world.
The dualistic division between the genuine and the Real has been present to a certain degree in all her works. In Six and a Half, Frame II and IV , The Pink, the spectral oriented nature of desires originates in things, protective layers covering a female body: a dress, underwear and pajamas. The intimacy – confined to a painting laboratory, left her alone – has been spreading visually like a phantasm. It has been permeating an object of desire, dissolving in it, becoming total, oceanic and resistant to all exterior meanings. Thus, the overwhelming aesthetic disarms the subject and cuts it out from reality. A chance to create authentic meaning has been immobilized. The beauty and aesthetics become a protective buffer against outside dangers, nevertheless they are empty notions, lacking the actual features of human existence. The primeval, unsatisfied desires are compensated by fantasy, creating the real, energetic fields that unconsciously guide human behavior. This is why the subject remains unfulfilled though constantly striving to escape and confront the reality, indefatigably looking for its own negative. Without modification of the basic data, quitting the aesthetic system appears to be impossible because freedom, authenticity and a pure chance are illusion exist that are used to refresh the standards and formats of truth.