Aneta Grzeszykowska’s series, Mama, is a journey into the depths of psychoanalysis, which promises a unique perspective on the complex relationship between mother and daughter.
The artist’s silicone recreations of the human body turn into a visual narrative, which questions the boundaries of memory and personal history.
PHOTOGRAPHY BY ANETA GRZESZYKOWSKA TEXT BY ESİN ÇALIŞKAN
Aneta Grzeszykowska constructs her photographs as trajectories of thought for complex artistic exercises, that she meticulously stages. What exactly does she seek in ‘freezing’ intense, strange, extraordinary and ordinary moments in a frame? If detachment from the body and existence is a photographer’s obsession, where does she begin and how far can she push the boundaries of her body? As the artist ponders existential questions like these, the viewer is positioned in a safe space that allows them to realise their self-worth.
Born in Poland and a long-time Warsaw resident, Grzeszykowska has questioned photography’s role in creating and documenting personal identity, since 2005. Her projects that revisit family stories are no less than remarkable. Her work mainly focuses on reconstructed video footage and sculptural figures, most of which are hyper-realistic models. The artist’s work is like the visual equivalent of what the American poet Louise Glück, said in her autobiographical narrative, Nostos, as she reached into the depths of her soul: ‘We look at the world once, in childhood. The rest is memory’.
Aneta Grzeszykowska’s series, Mama, is a journey into the depths of psychoanalysis, which promises a unique perspective on the complex relationship between mother and daughter.
The artist’s silicone recreations of the human body turn into a visual narrative, which questions the boundaries of memory and personal history.
PHOTOGRAPHY BY ANETA GRZESZYKOWSKA TEXT BY ESİN ÇALIŞKAN
Aneta Grzeszykowska constructs her photographs as trajectories of thought for complex artistic exercises, that she meticulously stages. What exactly does she seek in ‘freezing’ intense, strange, extraordinary and ordinary moments in a frame? If detachment from the body and existence is a photographer’s obsession, where does she begin and how far can she push the boundaries of her body? As the artist ponders existential questions like these, the viewer is positioned in a safe space that allows them to realise their self-worth.
Born in Poland and a long-time Warsaw resident, Grzeszykowska has questioned photography’s role in creating and documenting personal identity, since 2005. Her projects that revisit family stories are no less than remarkable. Her work mainly focuses on reconstructed video footage and sculptural figures, most of which are hyper-realistic models. The artist’s work is like the visual equivalent of what the American poet Louise Glück, said in her autobiographical narrative, Nostos, as she reached into the depths of her soul: ‘We look at the world once, in childhood. The rest is memory’.
Aneta Grzeszykowska’s series, Mama, is a journey into the depths of psychoanalysis, which promises a unique perspective on the complex relationship between mother and daughter.
The artist’s silicone recreations of the human body turn into a visual narrative, which questions the boundaries of memory and personal history.
PHOTOGRAPHY BY ANETA GRZESZYKOWSKA TEXT BY ESİN ÇALIŞKAN
Aneta Grzeszykowska constructs her photographs as trajectories of thought for complex artistic exercises, that she meticulously stages. What exactly does she seek in ‘freezing’ intense, strange, extraordinary and ordinary moments in a frame? If detachment from the body and existence is a photographer’s obsession, where does she begin and how far can she push the boundaries of her body? As the artist ponders existential questions like these, the viewer is positioned in a safe space that allows them to realise their self-worth.
Born in Poland and a long-time Warsaw resident, Grzeszykowska has questioned photography’s role in creating and documenting personal identity, since 2005. Her projects that revisit family stories are no less than remarkable. Her work mainly focuses on reconstructed video footage and sculptural figures, most of which are hyper-realistic models. The artist’s work is like the visual equivalent of what the American poet Louise Glück, said in her autobiographical narrative, Nostos, as she reached into the depths of her soul: ‘We look at the world once, in childhood. The rest is memory’.
POSITOPIA
17
OUT NOW
is a large format international biannual magazine from Istanbul. Focusing on arts, culture and society, each issue tackles various universal subjects within a distinct theme.
Address
Mim Kemal Öke Cad. No.6 D.6 Nişantaşı, Şişli, İstanbul, Turkey
+90 212 232 4288
contact@212magazine.com
POSITOPIA
17
OUT NOW
is a large format international biannual magazine from Istanbul. Focusing on arts, culture and society, each issue tackles various universal subjects within a distinct theme.
Address
Mim Kemal Öke Cad. No.6 D.6 Nişantaşı, Şişli, İstanbul, Turkey
+90 212 232 4288
contact@212magazine.com
POSITOPIA
17
OUT NOW
is a large format international biannual magazine from Istanbul. Focusing on arts, culture and society, each issue tackles various universal subjects within a distinct theme.
Address
Mim Kemal Öke Cad. No.6 D.6 Nişantaşı, Şişli, İstanbul, Turkey
+90 212 232 4288
contact@212magazine.com