from the Genealogy series. 2018
from the Genealogy series (2018), cast porcelain & road paint, h. 15-30 cm
Last autumn I learnt that my fifth great grand-father Joseph Probst came to Warsaw from Germany to work with the royal plasterers team and soon became one of the most recognized plasterer of his time. His son Joseph/Józef, also a plasterer, a couple of months before his death in the age of 33, at the Warsaw Fine Arts Exhibition (1825) received a prize for his “capital of a composite order”. Jury appreciated “the beauty and precision of the form, the pure style and the accuracy of the finish”. That does not sound like me at all….
The Genealogy series is about mixing and combining different DNA and different cultural and aesthetic codes. It is also meant to be a dialogue with my ancestors, an attempt to create a bridge over 200 years that divided us.
from the Debris series (2017, Shangyu Tales) 1. 2017
from the Debris series (2017, Shangyu Tales), cast porcelain, l. 44 cm
By choosing casting as the primary production method I have situated myself within the ages of porcelain industry and defining myself towards the past and the present plays a huge role in my practice. I am inspired by the process. The objects themselves are not the main focus; they are a side effect of my explorations. I like to play with the nature of accidents and work with them. In our culture an accident is considered an error. However the tamed accident is not an accident any more. The tamed accident becomes a technique. Direct contact with the medium is essential as it is all about balancing between maintaining the control and letting be in an attempt to capture the true nature of the material.
from the Debris series (2017, Shangyu Tales) 2. 2017
from the Debris series (2017, Shangyu Tales), cast porcelain, l. 41 cm
By choosing casting as the primary production method I have situated myself within the ages of porcelain industry and defining myself towards the past and the present plays a huge role in my practice. I am inspired by the process. The objects themselves are not the main focus; they are a side effect of my explorations. I like to play with the nature of accidents and work with them. In our culture an accident is considered an error. However the tamed accident is not an accident any more. The tamed accident becomes a technique. Direct contact with the medium is essential as it is all about balancing between maintaining the control and letting be in an attempt to capture the true nature of the material.
Note: The text above was written by the Artist. No modification was made by C.O.C.A.
Poland
Born in Warsaw, Poland. Artist and curator, explorer of abandoned spaces and untried paths. She received her MA from the Wrocław Academy of Fine Arts (Poland) in 1999. She exhibits frequently all over the world and has won many awards for her work that may be found in public and private collections worldwide. Member of the International Academy of Ceramics. awards (selection): 2015 Master Prize, European Prize for Applied Arts, Mons, Belgium 2012 Prix de la Ville de Vallauris, XXIIème Biennale Internationale de Vallauris, France 2009 Premio Per Il Design, V° Simposio della Ceramica Contemporanea, Bassano Del Grappa, Italy 2000 Forma 2000, Poznan International Fairs DOMEXPO, Poznan, Poland 2000 Judges Special Award, 3rd Mashiko International Pottery Contest 2000, Mashiko, Japan