16.09.2010 - 12.10.2010
Art Agenda Nova
Batorego 2, Krakow
Aesthetics and erotica are closely related to each other. Beauty is the obvious driving force of pleasure and its definition is something extremely individual. Osmosis, however, between its forms, which are perceived as being assigned to the so-called "high culture" and other more "popular" its manifestations seems to be something indisputable and wildly alive, which I think is also visible in this undertaking. The sublimation of beauty serving the confirmation of this, as a value and quality in itself, seems to me possible and, above all, within such a dialogue.
Minimal fetish is a project that was created over many years, therefore the material that makes up this book is not homogeneous. The project was isolated from photographic explorations within the lyrical minimalism and anthropology of pop culture. Trying to organize it chronologically - I started with photos taken on the margins of everyday life, testing the availability and fetish daily routine to consistently gravitate towards the alcove, recording details of aesthetic ritualization of sexual experience to ultimately deal with the sensu stricto color (or even hyper-color vide exhibition) as an integral element experience of pleasure. Intense color is one of the most fundamental codes of sexual attractiveness in nature. So children like "wild" people are maximally responsive to bright colors, only aesthetic aesthetic education, false imagination of classical beauty, demon of good taste degenerate this sensitivity. For me, the sonorous color remains a very strong stimulator, determines emotions, is exciting, provides joy and satisfaction. I am not going to give up on it - it is important for me in my life, in culture and in bed.
Minimal fetish is another opportunity for the manifestation of what I understand and propagate as a culture of pleasure, not only because of its subject matter and the means of expression used, but also because of the dynamics of the project itself. Much of the photographs used here were created in the bedroom - the costumes and stage design were treated here as amplifiers of pleasure and not only as elements of the aesthetized image - this was secondary. In the discourse on the culture of pleasure, the combination of work and sexual pleasure is completely consistent and in itself is its element.
Artist represented by the Leto Gallery