ARTiculAction Art Review - Special Issuue Aug. 2016 | Page 169

Marta Stysiak

ICUL CTION
C o n t e m p o r a r y

A r t

R e v i e w

Special Issue

I never take portraits of people on the
street or photograph them unless they are
part of the landscape (away from my
camera). When I accustom a place for
shooting I spend there some time and
befriend the people. In my documentary
photo serieses I 've known people who I
photograhed for years, I live with them,
eat, sleep and spend hours. This is my way
of putting psyhological insight into my
work and also I beleive it's then full, true
picture of them or the place, which is not
random and really means or meant
something to me at some point. Moreover,
I often come back to the place and the
work is growing so it's getting a very long
process before it's finished sometimes and
big part of my life.
My older videos like The bath, Way home
is a reconstrucion of memory back to child
memories or my close past so still very
conected to my exepreineces when
traveling and changing places of living.
Your successful attempt to produce a
dialectical fusion that operates at visual
level creates a compelling non linear
narrative that establishes direct relations
with the viewers. German
multidisciplinary artist Thomas Demand
once stated that "nowadays art can no
longer rely so much on symbolic
strategies and has to probe psychological,
narrative elements within the medium
instead". What is your opinion about it?
And in particular how do you conceive the
narrative for your works?

The symbolism is beautiful, it is an
intrinsic part of a creative process.
Anything could be a representative of
someting and finally a symbol and very
often works of art base on a rebus for the
viewer to guess by reading given symbols.
Though, so much was already described
generaly that it's hard to find strong

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