“It takes some time to achieve something that would be a sufficiently interesting abstract image and, at the same time, can be read as a mirror.”
With its site-specific installation, The Side That Faces Away explores the immanent knowledge of objects and painting. Here, the Frankfurt Städelschule graduate’s large-scale paintings negotiate the relationship between fact and fiction using gestures of reflection, repetition, and connection – in painted collages, assemblages and over-painting of found and fictitious image sources.
Exclusively for Studio Picknick, the artist has developed a unique exhibition architecture that bisects the space to create two shows that serve as reflections of one other and themselves. The exhibition space is a thoroughfare, a passage, a transition; its effect and perception defined by the high, central archway. It is this archway, this boundary, that provides a mounting point for Jagoda Bednarksy’s works – two pieces placed back-to-back mark the centre and division. On traversing the room, The Side That Faces Away reveals the world of objects behind the mirror, which in turn shows its own, subjective painted interpretation of networked thought structures.
How do we perceive the world and how can we depict it? How is knowledge archived and how does this institutionalisation of knowledge affect our perception and the way we acquire knowledge? Conceptually, it is object awareness and depiction phenomena that define the development of Bednarsky’s subjects – always oscillating between abstraction and sudden recognition.
Abstract black circles – centrally positioned in monochrome expanses – become the eyes of a washing machine; portholes into the cleaning process that observe the observer who, in turn, spots himself in the window’s pane. Seeing and being seen become one.
Bednarsky is intrigued by the tension between abstracted signs, structures and overt representation. Often simultaneously and layered, she combines visual, naturalistic, mechanical and gestural presentation formats. Facts, perception, structure, depth illusion, pictorial materiality and manifested immateriality enter into a constant, tension-infused exchange.
Jagorda Bednarksy shares this key focus with Roy Lichtenstein whose “Mirrors” series represents a special escalation of this particular tension. According to Plato, the mirror is a metaphor for the illusionist quality of an image. Just like Lichtenstein, Bednarsky does not explore reflections in the initial part of her show – where she cites and builds on these mirrors with their characteristic streaks and shadows –, but instead confronts the observer with the notion of reflection itself. It is this particular strain between abstract image and reflected depiction that remains central to the painter’s work. In a multitude of shapes, she reflects the paradox of perception itself.
Fotos: Trevor Good
Courtesy the artist and PPC Philipp Pflug Contemporary, Frankfurt am Main.
Jagoda Bednarsky (*1988 in Goldberg, Poland) holds a degree in Fine Arts from Frankfurt‘s Städelschule (graduated in 2014). Bednarsky continues to focus on painting with solo shows at, among others, Kunsthalle Lingen, Kunstverein Wiesbaden and Opelvillen Rüsselsheim. In addition, she is the co-founder of the nomadic exhibition concept just married.
THE SIDE THAT FACES AWAY
Postdamer Str. 118