In the works of Iza Tarasewicz instead of the traditional, representative approach – which depicts or imitates reality, and analyses the relations of object and space according to the constructive and static apprehension of Modernism – we may consider plastic shaping, in the process of an endless change of material, as a necessary state assembling in an arbitrary moment, subordinated to the definiteness of natural laws. The materials used might be organic or inorganic, solid or fluid, neutral or loaded with cultural symbolics, disciplined into strictly structured form or manifesting in their natural inordinateness, they all are carriers of an aesthetic quality lifted from that existent physical, biological, and chemical reality, through which the artist endeavours to grasp the individual stations of the unstoppable and dynamic metamorphosis of materials. Devastation, decomposition, degradation, corrosion, and mouldering of animate and inanimate materials go together with the modification of their materiality, and a continuous molecular realignment. The process is not positive or negative; its most essential characteristic is that it is unstoppable, and it naturally pertains to existence.
One of the most inspiring legacies of antique classic philosophy is the world-view of the atomists. According to this view, the material reality of perceptible reality is assembled from for ever existing, impartible elementary particles, atoms, which are in a constant move in the endless space, and which have different weights, therefore fall down with different speed, and as they collide, they divert from their original orbit, this way creating perceptible materials with different properties. This theory – formulated with the help of these speculative, logical constructions and poetic metaphors – was void of any kind of foundation based on natural scientific observation, however, it has become the most effective narrative of the progress of modern natural science. In the artistic position of Iza Tarasewicz these two great intellectual traditions are amalgamated, and with the help of these she creates an elementary plastic language and aesthetic dimension, which establishes an exceptionally unique system of relations between the naïve and poetic metaphors of classic, antique teaching and the rationalising tool systems of natural scientific cognition: figures, models, and charts.
In the use of materials – beside traditional sculptural materials – Tarasewicz unbiasedly includes organic and degradable materials, which are conventionally characterised as being of lower-order, low-class, or even repelling. Beside rubber, steel, canvas, cement, paraffin, vegetable fibres, and ash she also uses the offal of animals, or even the end product of digestion while creating her works. She believes that material in itself is nothing else but the ad hoc conjunction of elementary particles in a given moment of time, and as such, it cannot be evaluated from the point of view of emotion or taste. The essence of the sculptor’s activity is to create situations, constellation of objects, and combination of materials, which – by extending perception form the rational to an aesthetic dimension – may give a different kind of experimental knowledge for the beholder.
Iza Tarasewicz swept in the contemporary Polish scene last year when she won the most prestigious award for young artists – founded and sponsored by the German bank – the “View 2015 – Deutsche Bank Award”. The artist was born in 1981, in a little village next to the Byelorussian border. Her award-winning installation presented in Zachenta Gallery attracted great international attention, hence her more recent works will be exhibited in the Biennale of Sao Paulo and in the South-Korean Gwangju Biennale as well.
Curated by Barnabás Bencsik