martes, 11 de febrero de 2014


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iJOEL PETER WITKIN( American,1939) is a photographer whose images of the human condition are undeniably powerful. For more than twenty years he has pursued his interest in spirituality and how it impacts the physical world in which we exist. 

Finding beauty within the grotesque, Witkin pursues this complex issue through people most often cast aside by society -- human spectacles including hermaphrodites, dwarfs, amputees, carcases, people with odd physical capabilities, fetishists and "any living myth... anyone bearing the wounds of Christ." His fascination with other people's physicality has inspired works that confront our sense of normalcy and decency, while constantly examining the teachings handed down through Christianity.
Visitting medical schools, morgues and insane asylums around the world Witkin seems to shows life behind backstage. His constant reference to paintings from art history, including the works of Bosch, Goya, Velasquez, Miro, Botticelli and Picasso are testaments to his need to create a new history for himself. By using imagery and symbols from the past, Witkin celebrates our history while constantly redefining its present day context. 

Visiting medical schools, morgues and insane asylums around the world, Witkin seeks out his collaborators, who, in the end, represent the numerous personas of the artist himself. The resulting photographs are haunting and beautiful, grotesque yet bold in their defiance a hideous beauty that is as compelling as it is taboo. 

Witkin begins each image by sketching his ideas on paper, perfecting every detail by arranging the scene before he gets into the studio to stage his elaborate tableaus. Once photographed, Witkin spends hours in the darkroom, scratching and piercing his negatives, transforming them into images that look made rather than taken. Through printing, Witkin reinterprets his original idea in a final act of adoration. 

Joel-Peter Witkin lets us look into his created world, which is both frightening and fascinating, as he seeks to dismantle our preconceived notions about sexuality and physical beauty. Through his imagery, we gain a greater understanding about human difference and tolerance.


KATARZYNA KONIECZKA, London, UK."I am a costume maker and avant garde fashion designer. My creations are mainly to be viewed on a stage or a catwalk. The main aim of my designs is to create an impact on the viewer and evoke feelings. The costumes are not for everyday use. Each costume has been created as a one off, the techniques used to create them have been developed by myself, by experimenting with textiles, fabric and paint . I own all the design rights. Each costume requires special care and each is cleaned separately from everything else according to the label. In most cases I re- use the purchased fabric by processing or dying them, I never use fabric straight from the shop. The main motifs in my designs are asymmetry, destruction, dramatism, macabre. All costumes have been hand made myself"


       The Legion Oil On A Hardboard 100x100cm
                           The Outing
            The Great Mistery Of Faith



      Anfel Series
      Biomechanical Head Oil on a hardboard, 90 x 80 cm.
      Harpy  Oil on a hardboard, 90 x 80 cm.
               Angel Series

      Paradise Lost
       Sanctuarium Oil on a hardboard, 100 × 120 cm.

      The Legion  Oil on a hardboard, 100 x 100 cm.

       The Tracker

                      Siren's Island Oil on a hardboard 70x90 cm

                  Trinity acrylic,oil on hardboard 39.4" x 45.3" ( 100cm x 115cm )

Untitled Oil on a hardboard, 90 × 80 cm.

"It misses the point to ask me what scenes in my paintings 'mean'. Simply, I do not know, myself. Moreover, I am not at all interested in knowing."-- Dariousz Zdzislaw 
Dariousz Zdzislaw  was born in Poland in the town of Sanok near the Carpathians Mountains in 1958. His  paintings and drawings range from the surreal to the grotesque, with touches of the sublime. Dariusz's work springs from dreams and visions, almost creating itself at the end of his brush.