MISC

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.

Woman In White, 2017

Table With Cheese, 2014 ︎

Roof︎

Still Life, 2013