BIO
Martyna Benedyka
︎ ︎︎︎
Futures Photography, Camera - Centro Italiano per la Fotografia
2022
︎
DongGang International Photo Festival,
South Korea
22 July 2022 - 30 June 2023
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?






︎︎︎
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.
[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 Cheese︎

Roof︎

Industrial Landscape

Triptych (Apron, Camera Boxes, Garden)︎

Knife On The Table︎

Still Life