Part of the installation called "Practices in sadness".
I try to sum up the experiences of mental struggles and self-isolation with artistic work. Not to be confused with art therapy.

Frosting

The digital photograph is based on analogue photographs documenting concrete slabs (called panelák), which were used in the 1990s to backfill quarries. In Poland there are still approx. 4 million apartments in blocks of flats made of panelák. The broken plate pretends to be a rock formation. However, it remains a spectre that returns detached from its former context, heralding another end. 

Concrete

The object was made of unwanted furs that I collected, shaved, dyed and then sewed into this sad monolith. Sewing happened in a manner visible, creating a dense network of scars all over the object, sewn together with remnants of hair / fur.

Sick skin

Plasticine column with a fossil from before approx. 367 million years
It comes from the Great Extinction - one of the 5 largest that has ever taken place. There's more to come. Such fossils can be found in the ground. I put it on a colored, infantile column. The fossil grows out of it as a testimony, but also as a foretell of extermination. It's a small prophecy of the future awaiting us. 


Column

The installation assumes the transposition of the viewer to a post Shipyard era. The presented object – a deformed, symbolic “boat” levitating overhead immersed in another dimension – calls upon the phenomenon of the “forgetting of origins”. The Shipyard from this perspective is already distant and wiped from memory, while the object fragment becomes completely unfamiliar. The placement of the project is key – the viewer of the space enters it from the known surroundings of the Shipyard and is thus confronted by the strange and fragmented “future”.

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Martyna Jastrzebska