Iza Tarasewicz, ‘The Labirynth’, 2011, BWA Warszawa

Tarasewicz’s use of formal and methodological layouts is both a structural maneuver deployed to register sameness and difference and equally highlights and deconstructs the abstract process where an imaginary, selective, regulatory, and reductive cartesian lattice is overlaid upon existence. Nowhere is this more apparent than in her miniature map Labirynt/Labyrinth (2011). Again incorporating mucky yet inherently clean soap, the artist blanketed the surface with a folded and perforated drawing and encased the juxtaposition within a plastic bag. the drawing is derived from traditional Georgian painting, ornamentation and design that the artist encountered while on a residency in tbilisi. Identifying the stylized, twisting, and repeated graphical representations and knots as labyrinthine structures that could potentially be traversed, tarasewicz proposes the pattern as a map. Folded so as to rise and lay on the surface of the soap, the artist implies the folding of a map and therefore emphasizes the interrelation of abstract conceptualization and embodied imminent action and encounter, and points to topography as perhaps the most noticeable instance where three dimensional space is conformed and communicated through a two dimensional surface.

Post Brothers, „Clinamen” catalogue

solo exhibitions: „Clinamen”, Królikarnia National Museum, Warsaw 2013; Rotterdam International Art Fair 2012; “The Creature”, Georgian National Museum, I. Grishashvili Tbilisi History Museum, Karvasla 2011

„Clinamen”, Królikarnia National Museum, Warsaw 2013; „The Creature”, Georgian National Museum, I. Grishashvili Tbilisi History Museum, Karvasla 2011

About Iza Tarasewicz