2019/21, Wheee!, porcelain, gase / tongkama fire
phot. Katarzyna Mazurek
Plain air “Re-forma”, Stara Kopalnia, Wałbrzych
Cortex Piriformis, 2019, porcelain, earth, cork, mandarin oil, wood fired kiln
[2x] 9 x 7,5 x 7,5 cm
Scent is a sense most strongly associated with memory and emotions. Specific fragrance particles travel to a part of the brain called cortex piriformis and bring back memories. I closed my two memories in bottles. The smell of wet earth – a sign of the approaching spring and mandarins – an inseparable element of every Christmas, evoking my childhood memories in the countryside.
[work shown during “The 13th International Small Form Porcelain Exhibition”, Porcelain Muzejs, Riga (Latvia)]
Untitled, 2018, ceramics, outdoor firing in the grass sea
32 x 28 x 15 cm, 29 x 18 x 15 cm,
28 x 17 x 15 cm
[Works inspired by local antique ceramics made during the Erasmus + scholarship in Limassol, Cyprus]
Untitled II, 2018, ceramics
15 x 10 x 9,5 cm, 13 x 14 x 14,5 cm
28 x 10,5 x 15 cm
[Works inspired by local antique ceramics made during the Erasmus + scholarship in Limassol, Cyprus]
The smell of the earth, 2018, engobed ceramics, fabric
various dimensions
The work was created in a personal area, referring to my own feelings related to the memory of my childhood, the feeling of nature and the following seasons, the passing of time and the sense of inseparable connection with it. It is the result of reflections on man’s dependence on the earth and his role in the universe.
The earth has many smells: different in the summer after rain, different when in August it is warm from the sun after the harvest. Then it smells of the approaching end of summer and something elusive, reminding of death, transience and approaching autumn. It has a completely different smell after winter, and otherwise in autumn. Morka March, the land with high water in rivers and streams after thaws, is teeming with life, even though there are no visual signs of spring yet.
Clay also has a smell of earth. A delicate fragrance of rotten leaves and decayed wood. Combined with a plastic structure, it gives the impression of touching something extremely real and timeless.
[Studio of Potter’s Wheel, prof. Katarzyna
Koczyńska – Kielan]
Landscapes, 2016, engobed ceramics
[8x] śr. 28-34 cm
[Studio of Potter’s Wheel, prof. Katarzyna
Koczyńska – Kielan]
Gnomes, 2017, ceramics
[5x] 33 x 21 x 23 cm
[II Studio of Artistic Ceramics, prof. Grażyna Płocica]
Camouflage, 2016, engobed ceramics,
stop motion animation, mapping
Synthesized white object appeared, which seems to be a dead sculpture, but displaying a hand-drawn illustration on it acquires the characteristics of a living being. Appears when moving fur, eye, nose. Camouflage are two works that exist separately, but when applied, they form a coherent whole.
[Studio of Intermedia activities in ceramics, prof. Adam Abel]
Hearts II, 2017, porcelain, fires in a wooden kiln
17 x 15 x 6 cm, 14 x 12 x 6 cm,
15 x 15 x 5 cm, 14 x 12 x 9 cm
Hearts [R.D.], 2017, porcelain
17 x 15 x 6 cm, 14 x 12 x 6 cm,
15 x 15 x 5 cm, 14 x 12 x 9 cm
Lefty, 2016, porcelain,
stop motion animation
Nowadays, product design is focused on mass production, which does not take into account specific users. A right-handed person often does not realize that the current “left hand” has different needs. At the beginning of education, left-handed people encounter difficulties while learning to write. When using basic devices, such as a computer or a mobile phone, he experiences discomfort. Exaggerated situations involving the left hand are meant to break the habits and patterns that obscure the image of a diverse community and show it as a uniform element of the colorless system.
[Studio of Intermedia activities in ceramics, prof. Adam Abel]
Corn Rites, 2015, engobed ceramics
[17x] 22 x 18 x 15 cm
“Corn rites” is a word game that means corn ceremony, but also engraved drawings. Work inspired by pre-Columbian art and culture. Seemingly disordered, multicolored elements of the composition, put together, form a circle that forms a peculiar cycle of still reviving life.
[Studio of Potter’s Wheel, prof. Katarzyna
Koczyńska – Kielan, ad. Bożena Sacharczuk]
Bez tytułu, 2013, ceramics
58 x 67 x 25 cm