Exhibition time: 02 - 30 07 2021

Venue: Online exhibition | Click the link below to visit

 

 

/ JUSTYNA KABALA (PL) / K&R (fusions)

The series of works was inspired by a commission to create a drawing of a sculpture by French artist Jules Coutan, depicting a multiple figure hunting scene. The series consists of pencil drawings on paper with printed elements glued to them. The title of the exhibition is an acronym that is a kind of code or puzzle which can reflect many words.

Marble sculptures became the main theme of the created drawings. The series reflects the fascination with the precision of creation, the complex dynamics of sculptural compositions, as well as the material from which they were created. Drawing sculptures, included in the academic education system, is for the author an important element of everyday practice, which allows for continuous improvement and contact with the drawing workshop.

The selected scenes include works by some of the most outstanding artists: G. Bernini, A. Canova or B. Thordvaldsen, as well as performances by less known authors, such as, for example, E. Müller. The subject of the sculptures was mainly taken from mythology. Among the selected representations are: images of Aphrodite, Three Graces, Apollo and Daphne, and Pluto and Proserpine.

The works contain references to graphic design. In addition to drawing, signs were used in the series. Graphic elements were glued onto some drawings or interact with each other as separate works.

Among the used at works elements, small cursors occupy a special place. Printed on paper and cut out, they are glued to the drawings in places that encourage all kinds of associations and interpretations. Arrows, hourglasses, paws – indicators followed by the viewer’s eyesight have become an inseparable element of navigation of modern computer users. Thanks to the cursors suggesting the interactive space, the works take on the features of screens. The illusion of the screen significantly changes the field of perception, building tension at the junction of two stylistically different layers. The cursors become the element of the visual game – a detail, crucial in building the dynamics of the image, as well as its interpretation.

 

Without title, 70 x 100 cm, pencil on paper, 2020
(after Jules-Felix Coutan, The Eagle Hunters, the plaster model at the Musée d'Orsay 1893–1900, also high relief for the facade of the Muséum national d'histoire naturelle in Paris, bronze cast, 1900)

The series of works K&R (fusions) was inspired by a commission to create a drawing of this sculpture (this is a second version) by French artist Jules Coutan, depicting a multiple figure hunting scene.

 

Cupid and the Graces – haptic, 70 x 100 cm, pencil and cut element on paper, 2021
(after Bertel Thorvaldsen, Cupid and the Graces, Thorvaldsens Museum, Copenhagen, 1820– 1823)

Thanks to the cursors suggesting the interactive space, the works take on the features of screens. Haptic refers to the currently popular touch screens.

 

 

Prometheus and the Oceanids and R, 70 x 100 cm, pencil and cut element on paper, 2021
(after Eduard Müller, Prometheus Bound and the Oceanids, Alte Nationalgalerie, Berlin, Germany, 1879)

The "R" used in the work comes from the Baskerville, serif typeface created in the 1750s by John Baskerville.

 

 

America and Arrow, 70 x 100 cm, pencil and cut element on paper, 2021
(after Hiram Powers, America, The Metropolitan Museum of Art, 1850 – 1854 [detail]) Among the elements used at work, small cursors occupy a special place.

Printed on paper and cut out, they are glued to the drawings in places that encourage all kinds of associations and interpretations.

 

 

Apollo and Daphne and Arrows, 70 x 100 cm, pencil and cut elements on paper, 2020
(after Giovanni Lorenzo Bernini, Apollo and Daphne, Galleria Borghese, Rome, 1622 – 1625)

Apollo and Daphne is a life-sized Baroque marble sculpture depicts the climax of the story of Daphne and Phoebus (Apollo) in Ovid's Metamorphoses.

 

 

Pluto and Proserpine and hourglass, 70 x 100 cm, pencil and cut element on paper, 2021
(after Giovanni Lorenzo Bernini, Pluto and Proserpine, Galleria Borghese, Rome, 1621 – 22)

Justyna Kabala explores the performances focused on the concepts, according to the author, relevant to modern imaging such as the code, frame, quote and detail.

 

 

Without title, 70 x 100 cm, pencil on paper, 2021
(after Aphrodite of Capua, National Archaeological Museum, Naples, first half of the 2nd century CE)

One of the artist's favorite sculptures was used twice in the series ‒ the first time as a whole figure, the second in the fragment as a face.

 

The Three Graces – haptic, 70 x 100 cm, pencil and cut elements on paper, 2021
(after Antonio Canova, The Three Graces, State Hermitage Museum, Saint Petersburg, 1814 – 1817)

The Neoclassical sculpture, in marble, of the mythological three goddesses, daughters of Zeus. The Graces presided over banquets and gatherings, to delight the guests of the gods.

 

 

Loading, 70 x 100 cm, pencil on paper, 2021
(after unknown artist, Fragmentary Colossal Head of a Youth, Metropolitan Museum of Art, New York, 2nd century B.C.)

This sculpture was discovered at Pergamon, on upper terrace of Gymnasium.

 

 

Aphrodite of Capua ‒ Installation, 70 x 100 cm, pencil, cut elements on paper, 2021
(after Aphrodite of Capua, National Archaeological Museum, Naples, first half of the 2nd century CE, [detail])

In formal searches of the artist, the thread of broadening and exploring the boundaries of media appears. Elements of the installation interact with each other as separate works.

 

 

Without title, 70 x 100 cm, pencil and cut element on paper, 2020
(after Pietro Tenerani, Flora, State Hermitage Museum, Saint Petersburg, 1840 [detail])

The cursors become the element of the visual game – a detail, crucial in building the dynamics of the image, as well as its interpretation.

 

 

Without title, 70 x 100 cm, pencil on paper and cut element, 2021
(after Antonio Canova, Venus Italica, The Metropolitan Museum of Art, New York, ca.1822 – 1823)

One of the most characteristic letters in used in Baskerville typeface is the letter "Q", which artist decide to use as an installation element in the work.

 


/ JUSTYNA KABALA (PL) / born 1981
www.justynakabala.com

Lives and works in Warsaw. She creates paintings, drawings and installations. She is the author of over 50 individual and group exhibitions in Poland and abroad: Lithuania, Slovakia, in Germany, the Czech Republic, Spain and Belgium. In 2017, she obtained a PhD in Fine Arts from the Jan Kochanowski University in Kielce, Poland. Justyna Kabala graduated from the Painting Department of the Academy of Fine Arts in Warsaw. The artist is a laureate of many scholarships and awards. She received, among others, a scholarship from the Minister of Science and Higher Education and a scholarship from the Minister of Culture and National Heritage.

In her works, Justyna Kabala explores the performances focused on the concepts, according to the author, relevant to modern imaging such as the code, frame, quote and detail. In formal searches, the thread of broadening and exploring the boundaries of media appears. The collage has played an important role in the work on many series. The artist’s interests also include issues related to the perception of vision, in particular, the phenomenon of accommodation – the need for the human retina to adapt to different distances. The artist often builds her works on the basis of two layers, suggesting extreme distance. The point of reference for the artistic research are philosophy, in particular postmodernism, deconstruction or cognitive science, especially neuroaesthetics.

The works are often a kind of a visual puzzle, a rebus, they play a perceptual game with the viewer. In many series, the artist creates on the border of abstraction, however, one can find references to nature and the influence of photography or computer graphics.

 

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