Anieszka Kozlowska
Agnieszka Kozlowska, born in 1985 in Gdynia, Poland, is an artist working primarily in photography, with a practice extending into the fields of moving image and installation work. The passion for photographic experiments in both analogue and digital realm leads her to an approach that constantly questions and pushes the limits of the photographic medium in the fine arts field. Her particular interest is in the process of image-formation and the materiality of a photograph as an object. Working with historic photographic processes, she is currently investigating the role of paper in photography, with its ability to capture, trace and reflect time through its materiality, from a position of a researcher at the Northumbria University in Newcastle, Great Britain. Her inspiration is drawn from the natural environment, especially immersive experiences such as solitary mountain hikes.
www.kozlowska.eu
agnieszka@kozlowska.eu
(Title of shown work)
Mythens Circumnavigation Möbius Strip 23.4.2010. From: The Walking Project
Continuous abstract panorama record of circumnavigating the mountain, looping, 9,25m x 40cm, inkjet print, installation view (suspended from ceiling).
(Description)
“The idea that one photograph can document the duration of a walk is clearly ridiculous: an object cannot compete with an experience.”
Hamish Fulton
The Walking Project explores the possibility of communicating in the form of an artwork a subjective experience of the world understood in spatiotemporal terms and in relation to the body as the necessary subject of perception. It consists of long-exposure photographs, films, heart-rate records, sound records, maps, etc., which in this multitude of approaches attempt the impossible: materialization of a transient experience of basic activity engaging the body in a linear progress through space and time, and production of an object indexical to the distance and duration of the experience. Starting with the realization that the above has already been attempted (notably by the walking artist Hamish Fulton) and failed (as the above quote suggests), I embarked on technical experiments with cameras and photographic materials to test the limitations of the medium in recording a walk in its continuity. Balancing between materiality and immateriality, obscurity and information, the work places equal importance on the experience of the artist – principally a solitary affair without a witness – and that of the viewer – an imaginary journey upon encountering the traces of the walk.