(Polski) Obraz należy do najnowszego cyklu Zbigniewa Rogalskiego Rośliny aborcyjne. Ruta jest jednym z ziół, których kategorycznie zakazuje się kobietom w ciąży. Jej spożywanie może skutkować poronieniem nawet w bardzo zaawansowanym stadium.
In his new cycle “My Collection” Zbigniew Rogalski presents scenes created on the basis of Araki’s, Teller’s or Richardson’s renowned photographs.
The theme for the series, a thunderstorm, weaves together with the matter of the white thread used for the embroidery of lightnings. It was done using embroidery hoops used in traditional handicraft.
The piece was created in collaboration with Bytom label who supplied the flowing band of woollen black fabric and produced the embroidery. It refers to the cinema screen and its rolling credits, as seen through eyes glassy with emotion.
The view of dry branches against the sky, referring, in turn, to the earlier series titled ‘Death of a Partisan’ (‘Śmierć partyzanta’, 2005), transformed into a diagnostic image of the eye, which manifests signs of illness.
In the photograph used for the lightbox you can see a photo by a Japanese artist, Sugimoto, depicting sea—rolled into a tube.
Artist Zbigniew Rogalski was charged with the task of developing the work further and in response he placed a rescaled study of a hip bone in the center of the canvas.
(Polski) Rogalskiego fascynuje jak zmienia się nasza perspektywa i jakość obrazowania w obliczu intensywnej obserwacji obiektów.
Refined multi-level project concerned with the visionariness of art, its illusions and material dimension.
Series of 3 paintings – intimate portraits. Faces lying on pillows, are depicted from too close distance – images double, facial features lose their individuality, leaving the question of gender open.
Each of the six paintings from the series depicts a moment in which the contours of reality begin to blur. It refers to a scene from a Soviet war movie that depicted the death of a partisan from his own subjective point of view. The perspective of the painting makes us become its main protagonist, depicted in the moment of death, while still standing in front of the painting.
Contemporary vanitas. The inspiration for this series of paintings was the image reflected on the surface of the porcelain funeral photographs.
(Self)reflective attempt at a contemporary landscape painting. In the photograph, included in the passé-partout, one can see a refection of the artist’s studio.
The main heroin of this series – even if not always fully visible on the painting – is the painter’s partner, Karolina.