31. 07. 2022Rezident
Maryna Sakowska (PL)
Studio PRÁM is happy to welcome polish based artist Maryna Sakowska for her residency at PRÁM Studio. Her stay is supported by Visegrad Fund: www.visegradfund.org.
She will held a solo exhibition in the begining of August. Please, feel welcomed to the exhibition opening on August 2nd at 6pm at PRÁM Studio. The exhibition will be curated by Šárka Koudelová.
Maryna Sakowska was born in 1992. She works with textile, painting, installation and text. She graduated from the faculty of Multimedia at the Academy of Arts in Szczecin, Poland (2019) and the faculty of Painting at the University of Arts in Poznan, Poland (2017). She used to work as an assistant in Daniel Rycharski’s studio of sculpture at the Academy of Arts in Szczecin.
„I seek for images that disrupt some customary composition tendencies. My painting is expanding into space: huge sheets of fabric, paintings and various objects put together form large-scale, scenographic installations with their own absurd logic. They are a medium for telling often personal yet universal stories about love, violence and loss and connecting with revenants of collective imagination. I focus on material qualities and manual work. Sometimes I combine it with storytelling or another form of text. I am a finalist of the Geppert Competition (2020), a triple finalist of the Hestia Artistic Journey competition (2017, 2018, 2019). I took part in the 18th and 19th Survival Art Review.“
My painting is encroaching both on the space and everyday life. I seek for images that disrupt some customary composition tendencies and habits. Distorted images on the borderline of painting and sculpture – not completely flat but not fully threedimensional. Something like 2,5 D. I often use some everyday items and colorful, patterned fabric as canvas. I paint on the table cloths, on the ironing boards. I use layers, transparencies, perforations, buldges. My paintings, huge painted sheets of fabric and other objects pieced together form immersive environments with their own absurd logic and sometimes vicious sense of humor. These large-scale, scenographic installations and paintings are a medium for connecting both with the revenants of collective imagination and my own personal demons: traumas and experiences of violence, loss, grief, as well as feelings, complex emotional states and romantic stories. As a daughter of a fortune-teller and numerologist, I also try to understand what we as people believe in – and why. In my earlier works I focused a lot on the relationship between humans and their environment. I draw inspirations either from poetry, science fiction, fantasy and horror literature, myths, pop culture, computer games, surrealism, theater and old-fashioned stage design with its mock-up and makeshift quality. Feeling of nostalgia is present in my works in general. I guess I am most artistically productive when I am longing for something. I focus a lot on material qualities and manual work. I combine it sometimes with storytelling or another form of text. At a certain stage of my work, the figure and creation of Maria Pinińska-Bereś (1931 – 1999) was important to me. She was a famous Polish sculptress who decided to use soft, light, “feminine” materials such as fabric-covered sponges, quilted fabrics, pillows etc. in contrast to the conventional heavy sculpture materials. For a simple reason: it was difficult for her to carry them. I think it is a good and still actual idea to match the material used in the work and its size not only to your economic possibilities, but also physical and spatial. I use fabric because of its infinite capability of being shaped, draped, cut, dyed, folded-unfolded. I juxtapose it with some found materials and objects, both organic and artificial.
supported by: www.visegradfund.org