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Empty Room # 24. After Vermeer (2021) Photography by Marta Lesniakowska
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Original Artwork (One Of A Kind)
Photography,
Digital Photography
/
Non Manipulated Photography
on Paper
- Dimensions Height 15.8in, Width 15.8in
- Artwork's condition The artwork is in perfect condition
- Framing This artwork is not framed
- Categories Photographs under $5,000 Minimalism Architecture
W ten sposób moja fotografia staje się wydarzeniem ontologicznym, które daje się „czytać“ w swej warstwie czysto estetycznej. Formalny język, jakiego tu użyłam, ma swoje znaczenie. Pole obrazowe jest tu dyscyplinowane zasadami poetów-minimalistów: ekonomia szczegółów, odkrywanie ukrytych podtekstów i aluzji w niezauważalnych przedmiotach i fragmentach codziennej rzeczywistości, powierzchowności i przyziemności rzeczy. Ostrość, bezpośredniość, prostota ujęcia, precyzja kompozycji – wszystko to pokazuje, że fotografia nie jest kontyngentna/przypadkowa, ale, tak jak malarstwo, jest zdolna wytwarzać mocne obrazy realizujące porządek kompozycyjny jako zasadę zwartej i zdyscyplinowanej budowy obrazu (ml).
Fotografia wyróżniona i eksponowana w Centrum Sztuki Współczesnej „Znaki czasu” w Toruniu 2021 roku.
A work from the "Empty Rooms" series that has been in progress for several years. This empty interior is one of the varieties of still life. An old iconographic strategy that never compromises itself is activated here. The empty room evoked in my "remembering gaze" paintings by Johann Vermeer, with its distinctive light on the floor with a black and white checkerboard motif. Vermeer, like many artists of his era, built his paintings using such geometric elements to create the illusion of three-dimensional space on the flat surface of the painting. I dedicate this photograph to Vermeer, the first artist of the modern era to use a camera obscura to achieve this effect. In a sense, my photograph penetrates the secrets of his workshop: it shows the "Vermeerian" interior as a mise en scene, a set that awaits the characters in his paintings - a girl reading a letter, weighing pearls, pouring milk. He invokes the notion of quotation as the guiding principle of re-presentation, which refers to other images, iconographic borrowings from the Western painting tradition, which are "invented" in real space and then secondarily aestheticized.
In this way my photography becomes an ontological event that can be "read" in its purely aesthetic layer. The formal language I have used here has its meaning. The pictorial field here is disciplined by the principles of the poet-minimalists: economy of detail, discovering hidden subtexts and allusions in unnoticed objects and fragments of everyday reality, the superficiality and mundanity of things. Sharpness, directness, simplicity of approach, precision of composition - all this shows that photography is not contingent/accidental but, like painting, is capable of producing strong images that realize the compositional order as the principle of a compact and disciplined image construction (ml).
The photo was awarded and exhibited at the Center for Contemporary Art "Znaki Czasu" (“Signs of the times”) in Toruń 2021.
Collector's photography, color, , digital on archival paper Hahnemuhle Photo Rag Baryta 315g (semi-flash), archival paper, acid-free, signed on the face and on the reverse, dated 2021, Size 40x40 cm, not glued, without frame. Certificate of Authenticity., Without damages. Archived file: L1120024.DNG
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).
- Nationality: POLAND
- Date of birth : unknown date
- Artistic domains: Works by professional artists,
- Groups: Professional Artist Contemporary Polish Artists