The Owls Are Not What They Seem: Femmage To Maria
I come back home and I don鈥檛 take my coat off or put down my suitcase. There鈥檚 a stranger walking by the walls, black animals are sleeping on the wooden floor. I don鈥檛 close the door not to wake them up. Behind a curtain there are huge heaps of dishes to wash and work to do.
We are drawn into a world where nothing is what it seems. Rooted in the artist鈥檚 biography 鈥 in her everyday life, relations with her children and family, her dreams and thoughts, Maria Anto鈥檚 painterly oeuvre is nonetheless phantasmal, suspended in time, brimming with an uncanny atmosphere. Non-human entities take control of this exhibition鈥檚 narrative. The allure of these representations comes from oblique statements, the accumulation of meanings originating from poetic introspection, and the use of symbols. This is painting with your instinct.
Engaging in a dialogue with this practice are fantastic creatures from Jan Mo偶d偶y艅ski鈥檚 bestiary; Wiktoria Walendzik鈥檚 camp sculptures transferred from the digital world; hybrid figures from Chloe Piene鈥檚 drawings; and Zuzanna Janin鈥檚 daughterly objects 鈥 her femmage to her two mothers (biological and spiritual): Maria Anto and Katarzyna Kobro.
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I come back home and I don鈥檛 take my coat off or put down my suitcase. There鈥檚 a stranger walking by the walls, black animals are sleeping on the wooden floor. I don鈥檛 close the door not to wake them up. Behind a curtain there are huge heaps of dishes to wash and work to do.
We are drawn into a world where nothing is what it seems. Rooted in the artist鈥檚 biography 鈥 in her everyday life, relations with her children and family, her dreams and thoughts, Maria Anto鈥檚 painterly oeuvre is nonetheless phantasmal, suspended in time, brimming with an uncanny atmosphere. Non-human entities take control of this exhibition鈥檚 narrative. The allure of these representations comes from oblique statements, the accumulation of meanings originating from poetic introspection, and the use of symbols. This is painting with your instinct.
Engaging in a dialogue with this practice are fantastic creatures from Jan Mo偶d偶y艅ski鈥檚 bestiary; Wiktoria Walendzik鈥檚 camp sculptures transferred from the digital world; hybrid figures from Chloe Piene鈥檚 drawings; and Zuzanna Janin鈥檚 daughterly objects 鈥 her femmage to her two mothers (biological and spiritual): Maria Anto and Katarzyna Kobro.