The deity of mine

Kornelia Dzikowska

Curator: Magdalena Adameczek

Exhibition architect: Karolina Szczygieł

Venue: Zona Sztuki Aktualnej, Szczecin, Poland

Enter the sphere of purifica1on, where the impossible becomes possible. Immerse your gaze in water devoid of bad energy that will fill your body and soul with posi1ve vibra1ons. Let it flow through your whole body and with every second it takes away what was bad. Hear a gentle hum that soothes your senses and let him be carried away. Open yourself to new sensa1ons, exceed the boundaries of your limita1ons. Feel ease and let yourself be carried away by the force of water.

Dzikowska’s interests oscillate around the multifaceted problem of modern recourse to astrology, esoterics, metaphysics or religion to search for your personal “I”, “loading” of the internal energy field or “purification.” The focus is on the analysis of the contemporary identity crisis where, through mystical beliefs, crystals or horoscopes, the individual strives for spiritual purity and inner balance. It also emphasizes the exhibition’s title. It refers to the personalization of the current trend, where there is noticeable interest in these phenomena, which are oWen lost to the accompanying artifacts. Dzikowska focuses on the blurring of the border between rationalism and common-sense thinking towards blind belief in theories that are oWen supported by no scientific research.

The subject of her research, to which she refers heterogeneously, is the theory of “water memory”, which assumes that it has the properties of recording its experiences by accumulating energycontaining histories from the past. Water installations by Dzikowska are are subject to programming by crystal placed in the pool – onyx – which draws back the “bad energy” that this water “has experienced” and thus becomes the catalyst for the title purification. The very beauty of raw materials, which are minerals, metaphorically reflect the panorama of human behavior and beliefs. Materials acquired from nature are used parallel to our mundane needs. Archaic practices such as astrology or stonework used for thousands of years evoke the use of nature for human vanity.

The exhibition also refers to the astrological dependence of the artist and curator. Through the work Constella1on of Cancer, 5 VII: 22 VII, their emotional relationship based on the constant exchange of energy enhanced with the stained and weakest zodiac constellations – ephemerally affecting the cosmic power that connects them – it had marked.

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