BIO


Martyna Benedyka







NOW ON




                                             










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Futures Photography, Camera - Centro Italiano per la Fotografia
2022



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




                                






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De Structura, Tallinn, Estonia
2022-2023



Classix in Art Classix Festival 2022




2022-

Don't Forget You're Going To Die  



Part of “Eureka”, DONGGANG INTERNATIONAL PHOTO FESTIVAL,
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







        
Harp








Tina







Three-Legged Chair









Tribute


Little Book of Information Design From Analogue To Digital And Back 



Cel Del Nord Virtual Residency, Orista, Barcelona, Spain
2020

WORK IN PROGRESS





Martyna Benedyka: How To Document Sound?









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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

ARTIST STATEMENT


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.


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Contacts: Email or Instagram

[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.


Text: Ivan Bissoli





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︎


Roof︎




Industrial Landscape






Triptych (Apron, Camera Boxes, Garden)︎




Knife On The Table︎


       

Still Life