Martyna Benedyka



︎ ︎︎︎                           

Futures Photography, Camera - Centro Italiano per la Fotografia


DongGang International Photo Festival,
South Korea
22 July 2022 - 30 June 2023



De Structura, Tallinn, Estonia

Classix in Art Classix Festival 2022


Don't Forget You're Going To Die  

South Korea: 9 October 2022– 30 June 2023

and “Futures”, PHOTO ROMANIA FESTIVAL 2022

Don’t Forget You’re Going To Die is a photographic story project, inspired by the so called killed negatives (negatives of rejected images that were punctured with a hole puncher) by American photographers that were systematically destroyed in the 1930s.

The collection I am building is personal, almost intimate, and very broad at the same time. The idea behind this project is finding the metaphor for the unexplained and incomplete; in objects, nature, people and situations.

Whereas a picture usually documents reality, it can also hide it, so that it becomes inaccessible and the only thing we can do is interpret, like dreams, which in the end is just speculation.

On The Sea

Courtyard With Shadow

Guest Room

Double Portrait



Three-Legged Chair


Little Book of Information Design From Analogue To Digital And Back 

Cel Del Nord Virtual Residency, Orista, Barcelona, Spain


Martyna Benedyka: How To Document Sound?


Fragments, Light

and Sound

I often painted fragments of things because it seemed to make my statement as well as or better than the whole could.

G . O ' K e e f f e

Photo: In-ruins


To me, the fact that no two photographic prints are ever exactly the same is a perfect analogy of how I view painting. Photography has taught me that memory is fragile and uncertain and through my painted surfaces memories are recorded and transformed. Modest in scale and subject, my works become fleeting moments of distorted reality.

Examining ideas of existence and being, I look for the essence of a person through the essence of an object. The camera becomes a link between an intense description of the world of things and my own response to it. My works are fragments that act like poetic signs; I would like to encourage people to slow down and to see the poetry of everyday life. Through the process of cumulative observation some of my favourite motifs are endlessly copied while others, once pushed to the edge, simply vanish. The diversity of my work unites the idea of looking behind what is seen, which is my main concern.


Contacts: Email or Instagram


I was impressed about Benedyka's concept of memory: the impossibility of identically replicating two photos, after all, what forces us to do, if not starting with a redefinition of the perceived, revising the signifier associated with a memory, to a single fragment to the extent that the deceptive and misleading memory arbitrarily returns us in relation to what we have seen?
In the painting "Knife on the Table" (Oil on Wood, 2016), reinforcing the concept of contact emphasized by the icastic encounter of surfaces, the dimensional connections are grasped, just like the knife that cuts the eye in the short film “Un chien Andalou” (Luis Bunuel 1929), the surrealistic translation of a visual expression that becomes reality capable of projecting us to a higher level of perception. Similarly, bringing out the boundary between conscious and unconscious, the artist gives shape to a dividing line to stare the memory as an absolute sign.

Text: Ivan Bissoli

Ceramic Mushroom

Do You Remember When (Conversation I)
Why The World Looks They Way It Does (Conversation II)

Before The Mirror

Woman In White

Table With Cheese︎


Industrial Landscape

Triptych (Apron, Camera Boxes, Garden)︎

Knife On The Table︎


Still Life