Monika Grzymala’s work possesses a strong sense of authorship. She is known primarily for creating three-dimensional spatial drawings using industrial tape applied directly into and onto the exhibition space’s architecture. Grzymala therefore animates the exhibition space while simultaneously incorporating it, as well as the viewer who stands inside it, into the work. The space she works with sometimes feels endless, because we sense strongly that her work contains nerves or roots that extend into the walls or even through the architecture itself.
The fact that Monika Grzymala has studied stone sculpting and utilized that very medium to enter the art world reminds us that it is possible to get anywhere from anyplace. Grzymala has described the creative beginnings of her installations as growing out of the first impressions she gets within her spiritual inner space when she enters a location or landscape—sparking different ideas each time. The ideas are then jotted down in ink drawings on paper and the materials are carefully selected. The first movement within the space creates a beginning for each anticipated drawing that then organically grows into a structure that almost seems to have a beating heart. During the installation process, which might take a few days, she creates the work using her own body. She connects and entwines kilometres of industrial tape, moves around the space like a dancer, breathing to the same beat as the space.
These are some aspects of Grzymala’s art in her exhibition at BERG Contemporary. When entering the exhibition hall one sees white paper reliefs that are formed directly in the paper, as she constructs it from scratch. The works, relatively large in size, are created utilizing ancient Japanese methods combined with Grzymala’s own methods. In this way, she makes immense paper works from the bark of mulberry trees. Even though paper as a material might seem fragile and impermanent, as opposed to stone, the material of memorials, these paperworks are very strong and the forms made from this material have staying power. Alongside the paper reliefs, a three-dimensional silver drawing catches your eye when you walk into the gallery, stretching itself into the room and spreading into the inner area.
The installation is extensive, and yet it possesses a sensitivity and delicacy. It isn’t only bound in space, but in time as well, and reflects the circle of life and eternal change. Grzymala’s works are about time and space and the line. The line represents possibilities: the journey forward, not giving up, the possibility of the future.