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PL

CORPO SOLIDO
/2012/


excerpt_ The body being inextricable from nature, being in fact its integral part, provides a sense of harmony and belonging to the world setting us comfortably in the ostensible chaos and confirming our presence here. (…) Although Corpo Solido is not for good, it has the power and is prepared to last.


Each body is completed and the Solid Body does not exist, because (as individuals) we are dependent on the passage of time.

Nameless fragments shown in a series of twenty-three photos seem to exist protected against the passage of time by a thin layer of paper, while the time units themselves in their disturbingly empty space simply do not exist. Body which after all possesses such ordinary qualities like hair, corns, stretch marks, blemishes and cuts thanks to being appropriately “quartered” and enlarged begins to betray the taste of revelation. These animated sculpting objects do not shout, but whisper about their dignity and the beauty of nature. Thanks to the scale of the presentation they acquire millions of meanings, inspire respect and remind of desert landscape, thus highlighting the inseparable connection between a human and perfect, according to Leonardo’s Renaissance thought, nature.

The power of these shots lies in truth and honesty – they become alive while interacting with the spectator. Almost pregnant breast bravely taken en face seems to declare it is the way I am being a source of tucking, heartening, motherly warmth and security which we were able to experience in this one and only way as children. Strong, rough, almost elephantine heels stand firmly like a hundred-year-old trees and it seems that they weigh tons. Clearly marked veins, broken blood vessels and deep fingerprints indicate life pulsating inside the body as well as the weight of muscles and bones carried every day. Another photograph shows the sole of the foot whose skin like layers of soil press against each other sliding along the foot’s steep slope, whereas the huge male torso seems to take breath breaking away from the ground. Tender, sexual and strong thighs tattooed with the natural skin imperfections – stretch marks form on their surface a beautiful and delicate pattern. Tangle of clashing elbows and knees resembles the dynamic Laocoon group which contrasts with the peaceful flower made of feet rising up to the sky like a Gothic cathedral.

The body being inextricable from nature, being in fact its integral part, provides a sense of harmony and belonging to the world setting us comfortably in the ostensible chaos and confirming our presence here. Neutral, greyish tone of images being devoid of dramatic contrasts enhances the sense of stability and unity. Although Corpo Solido is not for good, it has the power and is prepared to last.

The use of highly sensitive negatives was not a decision solely dictated by the desire to shoot in natural, fussy light. The structure of these films refers directly to the surface of human skin. Grain, which is characteristic of these materials, creates an almost living and vibrant texture. Upon closer examination it appears to be irregular: its clusters make up freckles, moles and blemishes.

Although the analysed photographs, similarly to the works of the photography master, Bill Brandt, focus on the body parts, they do not evoke the sense of infinity – perhaps it happens because they present the scars of skin, as well as lack in the positioning of the photo’s subject in such a suggestive space as the surrounded by cliffs beaches of East Sussex must have been. Brandt’s photos are nothing but a “silky lie”, while my series Corpo Solido affirms life simultaneously provoking questions about its organic end. I would like to leave the spectator meditating over the inevitable and at the same time permeate one with hope and love for one’s existence.

Master's degree graduation project at the Academy of Fine Arts in Gdansk, PL
Promoter: Anna Królikiewicz, Assistant Professor