Raster

Skin Heads

Leather dolls—or rather head studies—were made by Grzeszykowska using scraps of material retrieved from secondhand leather clothing found in thrift stores.

In this series of large-format photographs, the artist brings her double to life. The effigy manufactured by a specialist firm is a faithful copy of her head and torso on a 1:1 scale. Grzeszykowska documents the process of applying makeup, eyelashes and eyebrows, and the framing and reduced distance create the illusion of confronting a real person.

Negative Make-Up

(Polski) W serii „Negative Make-Up” Grzeszykowska bawi się kolorowym makijażem. Zdjęcia wykonane w konwencji oficjalnych portretów do dokumentów to z jednej strony fotografia bardzo schematyczna, skonwencjalizowana, która równocześnie gra z obrazem kobiety w kulturze.

Iranian Film Stills

74 photographs from the Iranian Film Stills series document Aneta Grzeszykowska’s stay in Iran in March 2015.

Franciszka 2021

The white woolen doll represents an image that the artist has of her own daughter, Franciszka – in year 2021.

Selfie

Grzeszykowska makes a radical turn in the direction of the grotesque, creating startling sculptural charades using fragments of her own body, modeled in pigskin and exhibited on smooth leather backgrounds. Her selfie takes on an uncanny quality as she creates a self-portrait out of many parts.

Clock

Clock is a 12-hour long video in which Grzeszykowska performs choreographed dance compositions.

The video is shown in sync with hours of the day – the artist’s image is multiplied number of times to correspond with the time of day. With each new hour, new composition unfolds with another ‘copy’ of the artist added to the scene.

Franciszka

The white woolen dolls are hand sewn by Grzeszykowska. They represent an image that the artist has of her own daughter, Franciszka – in different, future stages of her life. Each of the white dolls will be completed by a photographic equivalent of Franciszka when she reaches a particular age.

Negative Book

Negative Book deconstructs positive photography and as such forms a continuation of the artist’s reflections on the character of the photographic medium and its various transformations.