Sometimes thoughts form a coherent rhythm, are subject to logic, grow out of each other. When you write, you follow a marked path, wading towards certain points. But it happens that the rhizome of thought gets tangled or separated. The fragments pulsate with their energy, building spontaneous nests, in which only the sensed, raw germs and premonitions warm up. The map becomes interactive, points can be moved freely.
Does a fragment testify to the whole? A ritualistic piece of space found somewhere in Nepal, is moved to a new area. It comes from the time and space of the opening, now viewed in an intentional lock. Arranged by a human gesture, finds its way into a time of retreat and contemplation. Where does it draw its power from? Objects, proper names, they all carry the imperatives of the imagination. Waking the imagination, they also awaken other life forces. They are a route that we follow intuitively, although consciously and with conviction. What is there counterbalances what is not there. Materiality and the lack of it create this story. Some processes are ongoing, others are being forgiven, others are being completed. The map of the creative process is developing, budding. Some gaps are filled, others remain, testifying to emptiness, abandonment and non-existence.
Moving into the landscape is also moving within yourself. Lines are important. Derived from a mountain silhouette, they move on, through the area of paper, and mark new, independent meanderings. Imagination is mixed with the document. What we experience with our senses may be unrealistic, fabricated. The question is, what are the conditions for fiction? The power of immateriality is extraordinary. An ephemeral, imaginary, dreamlike area is beginning to settle close to what is called the truth, cognition. The Yeti is becoming a symbol – an archetype of the bond between human with inhuman. Its specieslessness helps open up to the experience of relativity. Perhaps the understatement, the quality of not being fully closed are closest to us, liberating.
The collage contains the matter of the word, the image, as the author’s record of experience, it encourages to add to it one’s own story. The power of the fragment lies perhaps in its open form, it can be freely formed and deformed. Without the pressure of having to define the beginning and the end. The only thing worth assuming is the feeling, digging in, climbing in.
Creativity is the experience of seeking relationships. It is a constantly living question about oneself in the axis of the world. It is a spiritual practice, an attempt to find and resurrect bonds. What if we felt like an animal in a herd? To look at the world from under the fur on your forehead or to set off and feel the stones passing by, the monumental mountain ranges, to breathe in their sound and scent. This community of the living with the inanimate creates the tissue of the world in which we pulsate.
A journey combines movement and permanence. Who is the one who sets off? Perhaps he is a collector, overwhelmed by the need to create his collection, which fits into display cases or crawls into space. The collage of meanings is subject to female intuition of collecting. A woman’s journey is full of respect for the local time and course of events. She verifies what she finds, but only takes what is needed. She is not greedy and possessive. She subtly sends one further, deeper, inviting them to continue their journey. She restores the balance between the distant and the close, between the tangible and one’s own. She turns closure into a meditative retreat and puts the scattered pieces together in a new whole. Her journey continues. Rather, she makes an inclusive reflection, opens up circles of meanings, and her own experience seems to be constitutive and particularly important in this case. The story wraps like clay on a Nepalese house. And any cracks are welcome.
curator: Karolina Pikosz
20 Gdańska St.