Zofia Nierodzińska

born 1985 in Łomża

2005-2010 Academy of Fine Arts in Poznań, diploma in painting, prof. Wojciech Łazarczyk’s studio (2010)

Individual exhibitions:

2010 "Picture Show", Starter Gallery, Poznań, Poland
2009 "Hvor hoeyt er fjellet?", individual presentations in Dominik Lejman’s Painting Studio, Poznań, Poland
2008 "Luma key", Naprzeciw Gallery, Poznań, Poland
2007 "Continuation", Enter Gallery, Poznań, Poland

Collective exhibitions:

2011 "Beautiful Weather", Foksal Gallery Foundation, Warsaw, Poland
2011 "Poachers", Arsenał Gallery, Poznań, Poland
2011 "Dirty Water", PGS Sopot, Poland
2010 "Lazy Life, Insistent Hopes", Klima Bocheńska Gallery, Warsaw, Poland
2010 "Dirty Flowers", Leto Gallery, Warsaw, Poland
2010 "Protoplasm", Arsenał Gallery, Białystok, Poland
2010 "Y Line", Appendix Gallery, Warsaw, Poland
2009 "This Is Youth", Klima Bocheńska Gallery, Warsaw, Poland
2009 "Havana”, Starter Gallery, Poznań, Poland
2009 "Line of Life and Death", annual exhibition of prof. W. Łazarczyk’s Painting Studio, Poznań, Poland
2009 "Essence", semester exhibition of M. Bałka’s Space Transformation Studio, Poznań, Poland
2007 "I cóż, że ze Szwecji", Enter Gallery, Poznań, Poland

Public space activities:

2009 "Joseph", installation in Collegium Minus, Adam Mickiewicz University Building, Poznań, Poland
2007 Installation on a facade of a building in Rybaki Street, Poznań, Poland
2007 Installation in a former factory building in Wilkońskich Street, Poznań, Poland

Plein-air and workshop participation

2009 Intermedia Faculty Plein-air, Kaliningrad, Russia
2008 Painting Studio Plein-air, Wadi Rum, Jordan
2008 International plein-air, Skoki, Poland
2007 Intermedia Faculty Workshops, Copenhagen, Denmark
2007 Painting Studio Workshops, Kalix, Sweden

Zofia Nierodzińska’s basic medium of activity is painting. Her theoretical pursuits are also connected with it, or to be more precise – with broadly understood visual art. They include the connection of film and photography with painting, the problem of the gaze based on the theory of Laura Mulvey and Bracha Lichtenberg Ettinger, as well as the myth of androgyny, to which she relates indirectly in the representative layer. Zofia Nierodzińska undertakes a significant attempt to reformulate the role of the picture in the world of visual communication. She uses memory images preserved in photographs, at the same time building a purely intentional reality. She extends the play inside the picture well beyond it, forcing us to move outside without giving directions. She also deprives film of its linearity, concentrating on individual frames. The tools she uses communicate a message which is different from the one we know. The artist formulates an important issue – the necessity to reflect on the picture, its present and future. The pictures/frames and our movement between them do not give a sense of passing time, but rather a sense of duration. Duration and wholeness go beyond motion. In turn, the image itself does not refer to the represented object. The coexistence of painted pictures and objects, elements of space, is reflected in the difference of our perception, various ways of pursuing the reason and aesthetic conflict between abstraction and figuration, the painted and the real, the moving and the motionless.

Wojciech Łazarczyk