Baby it’s cold outside || Daria Rozmarynowicz

Artist

Daria Rozmarynowicz

ABOUT EXHIBITION

At the beginning, one may wonder whether the fact that Daria Rozmarynowicz chose a hyper-realistic form for the newest cycle “Baby it’s cold outside” will ensure proper reception of her works, let the recipient enter the structure of her thoughts and feelings. It is hard to find an answer, the content that the painter signals in spite of the photo-realistic form does not lead us to an obvious interpretation. The choice of the artist to express herself in the medium of painting, although labor-intensive and perceived as anachronistic in relation to photography or video documentation, is very important. In this case, the very action, painting, building of individual images as well as the entire cycle, the type of the journal is important, and the imposed form determines the content.

Precise, studied, thoughtful compositions are extremely visually appealing, to the point that they seem to be speculated. Meanwhile, despite the formal weight of the image itself, they are close to a spontaneous reaction to the attacking artist’s daily view. Craft precision is quality in itself and a conscious choice, a kind of artistic examination of conscience. We meet here a rhythm, a repetitive view, a pattern that is a background for objects. The compositions visible on the canvases are accidental, they are arranged by themselves and so they are remembered and preserved, and the long-lasting painting process resulting from the adopted manner is actually a record of the impression born of the impulse.

“My paintings are about my everyday life and the process of their creation is for me a kind of performance, which I obviously can not show, but what constitutes for me the truthfulness, authenticity of both images and my internal consent to these concepts, concepts of image-chorus, images – cards from the diary, images of notes from our times ”

It is an art in the process, more conceptual than obvious, and it is precisely this stage, the peculiar path of coming, that we are deprived as recipients. As the title of the series “Baby it’s cold outside” suggests, one should not fully trust what outside the realm is, what outside can be unpredictable and dangerous. The choice of such a common denominator reflects the introverted nature of this work.

Seemingly neutral presentations are accompanied by a premonition of impending danger. It is intensified by the presence on the first image of this series of a mug – a typical gift from New York, a witness of the later broadcast of events related to 11.9.2001. The interpretation of symbols imposes the context of current social and political events. We encounter a pervasive external reality penetrating the privacy of the home in which we participate despite the obvious reluctance to participate. The default world only signaled by objects meets with the artist’s specific microcosm. Daria Rozmarynowicz does not choose objects for compositional and aesthetic reasons, as in a classic still life, kitchen utensils, tools, tame, universal, being part of every kitchen, they speak about the unification of the surrounding world. The artist, painting individual objects, burdened with a layer of connotations and connotations, comments on the division of roles imposed by both gender and cultural conditions of our place on earth.

Rosemary does not call herself a feminist, he stops our attention on certain elements, he tells us about his everyday life about trying to be a painter who, despite his determination to create, does not give up his prosaic home activities and responsibilities. She does not try to make her art more attractive, her paintings, although clean and modern, are not a reflection of what is currently postulated, nor do they enter into a polemic with a phenomenon that can be called new-old masters. Attempts to look for an analogy, even in the seventeenth century still lifes are illusory, the more that Daria Rozmarynowicz gave up her figuration in her painting for a long time, and the current detail is her natural need, not the reaction to the intertextual interpretation of the work. The most interesting seems not to study relationships with other images, or works from the canon of the history of art, and to focus on the relations between individual images within the whole cycle.

Daria Rozmarynowicz
1987 – 1992 studies at the Academy of Fine Arts in Kraków, Faculty of Graphic Arts, Katowice

individual exhibitions:

2007 “heaven”, Sopot
2004 “heaven”, Galeria Marchołt, Katowice
1992 graphic design, Silesian Museum, Katowice

group exhibitions:

2002 final of the “Painting of the Year 2001” competition, Królikarnia, Warsaw
1992 Association of Polish Visual Artists in Germany, Cologne