Ania Wawrzkowicz – Stan rzeczy

Ania’s work assumes a minimal, conceptual and sculptural character. It is a transgression of photography, understood as a direct transfer that doesn’t require the mediation of conventions of representation, or conscious interpretation. The work has a quiet agitation about it which questions, contradicts and reshapes what you think you know and what you feel about things.

She is drawn to an unfixed quality; the destabilizing feeling that the meaning of a photographic image is not locked- a condition that she encourages through the stripping back of familiar tropes and signifiers. The importance of empty space- of absence- within the works is that it tests both visually and conceptually the limits of photographic representation. Still and emptied of illusory transparency, her photography hovers between representation and abstraction.

This disappearance of illusionary content furthers the idea of a photographic image as a surface and not a window and playfully redirects our attention to what is actually in front of us. Whether it is through the compression of sculptural gestures into the flatness of an image, creating largely obstructed points of view, or the simple, intuitive and explicit arrangement of geometric forms, new perspectives are formed and a photographic framework widened.

In focusing on essential forms and gestures and foregrounding the studio as the site of her activity, the process of making the work is drawn into the viewers’ understanding of the resulting image. This performativity – the time of making, the actions of the artist- exists as layers in the image as tangibly as the strictly formal elements of color and form, as both the objects and the subsequent images recall the process that brought them into being. Here, the photograph becomes the fixative and the final rendering of that process even as the deliberate arrangement and framing reminds us that image is not the record of the ephemeral sculpture but the final embodiment of the whole work itself.