MON CERAMIC
making of
Simple white porcelain plate in the center of the viewer's attention placed by Van Gogh at his “Still Life with a Plate of Onions”, turns out not to be that “still” in the compositions by Maria Rutkowska.
While the plate among its twin white, often empty cups and jugs, could be blind and dumb, but however leads "quiet life", if you consider the sixteenth century terminology. Not just any life, because Rutkowska gives him freedom of movement, ability to be a moon and a new meaning. Convulsive beauty - term created by André Breton - in the area of art is a bridge between the surreal concept of aesthetics and technique of photography. Rutkowska immobilized objects in the scene, but the plate can fly with saucers while the camera captures the explosion, gravity can no longer exist like it is no longer cups but a levitating acrobats. In these frames there is no failure, collision nor rupture, fragility is over. The drama scenes of “breaking into pieces” are out of our sight.
White banal everyday objects - citizens of employees cafeterias, perfectly fit into the surreal concept of mass-produced everyday objects, which are taken out of proper context, they appear to be unusual and worth of attention, fading conventional look. They are an excuse to explore the subconscious and fulfill the function close to a dream. Childish plays with the title words, tricks with the multiplication of meanings, as in word game makes impression of a light character. But there is something about the “cleaned up” images that keeps me anxious.
dr hab. Anna Królikiewicz
While the plate among its twin white, often empty cups and jugs, could be blind and dumb, but however leads "quiet life", if you consider the sixteenth century terminology. Not just any life, because Rutkowska gives him freedom of movement, ability to be a moon and a new meaning. Convulsive beauty - term created by André Breton - in the area of art is a bridge between the surreal concept of aesthetics and technique of photography. Rutkowska immobilized objects in the scene, but the plate can fly with saucers while the camera captures the explosion, gravity can no longer exist like it is no longer cups but a levitating acrobats. In these frames there is no failure, collision nor rupture, fragility is over. The drama scenes of “breaking into pieces” are out of our sight.
White banal everyday objects - citizens of employees cafeterias, perfectly fit into the surreal concept of mass-produced everyday objects, which are taken out of proper context, they appear to be unusual and worth of attention, fading conventional look. They are an excuse to explore the subconscious and fulfill the function close to a dream. Childish plays with the title words, tricks with the multiplication of meanings, as in word game makes impression of a light character. But there is something about the “cleaned up” images that keeps me anxious.
dr hab. Anna Królikiewicz
