The Endles­sly Distant Roads series Zofia Rydet described as “a metaphorical story about life and roads” and added the struc­ture of a quasi-​conceptual typology in which images of empty roads, road signs and cros­ses were juxtaposed. Despite the univer­salist con­cept, the specific photographs have an individual charac­ter, and the whole, apart from the sym­bolic meaning, can also be read as an original nar­rative about the Polish land­scape. The artist focuses on tel­ling details—tawdry road­side and cemetery cros­ses with cast crucifixes, ruts in dirt roads, and cracks in asphalt sur­faces. The critic Jerzy Busza described the space depic­ted by the artist as “incredibly abs­tract and tan­gibly con­crete, metaphysical and real.”

From the Endlessly Distant Roads cycle, 1980, gelatinous silver print, ca 24 × 30 cm

From the Endlessly Distant Roads cycle, 1980, gelatinous silver print, ca 40 × 30 cm

From the Endlessly Distant Roads cycle, 1980, gelatinous silver print, ca 29.8 × 24.2 cm

From the Endlessly Distant Roads cycle, 1980, gelatinous silver print, ca 29.8 × 24.2 cm