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My practice moves across painting, drawing, photography, embroidery, collage, video, and sound to explore how environmental memory, identity, and beauty persist - often in fragile, fragmented forms. I work with personal and found materials that carry subtle traces of life and create new through layering, distortion, and repetition. These become visual and sonic echoes - gestures that blur the boundary between presence and absence. I am drawn to imperfection and the overlooked, those small details that hold emotional weight. My work does not attempt to preserve memory as truth but engages with its instability - its distortion, its silences, its beauty in erasure.
Sound plays an equally important role in my installations, often composed of my voice and ambient recordings from intimate and outdoor spaces - breathing, the flow of water or distant natural sounds. Combined with tactile and visual elements, they create immersive environments that invite the viewer to slow down and engage with what is barely visible or barely heard.
Beauty, for me, is not about clarity or perfection. It emerges through vulnerability, subtle shifts, and the poetic residue of what remains. By creating spaces where viewers can reflect, remember, and feel, I hope to spark a quiet emotional resonance - one that lingers like a memory half-remembered.
Martyna Benedyka
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.
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.
Ivan Bissoli
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© Martyna Benedyka 2014-2026
© Martyna Benedyka 2014-2026