2024年12月艺术家驻地
2024 December Artist in Residence
December 14th (Satuday) 16:00, 2024
前言 Introduction
Katarzyna Osipowicz的作品是对感知、记忆和情感共鸣的深刻探索，通过摄影和拼贴画栩栩如生地呈现。她的艺术打破了人们对视觉媒体作为记录现实工具的传统期望。相反，它提供了一个镜头，让我们看到一个非常主观、内化的世界，在那里，空间被转化为情感和个人的愿景。与视频制作人Bill Viola 的“视频即思想”概念相呼应，Osipowicz并没有将她的媒介作为记录现实的手段，而是将其作为将内部印象转化为现实的一种方式，在可见和想象之间创造了一种层次化的对话。
对于Osipowicz来说，相机不是一种被动的观察工具，而是一种动态工具 – 一种通过非常个人化的镜头重新诠释世界的手段。它充当了物理环境和艺术家内心视野之间的桥梁，扭转和重塑现实，以反映她如何从内心感知和感受一个空间。通过这种方式，Osipowicz创作的作品本质上是主观的，它所呈现的场所印象与其说是其形式的外部现实，不如说是它们留下的情感和心理痕迹。
她的作品捕捉了转瞬即逝、难以捉摸的时刻：互动、空虚的重量和消失的必然性。每幅作品都邀请观众停下来，面对存在的短暂性。她作品的一个核心元素是使用白色，这是一种同时吸收和擦除的视觉主题。这种虚空般的特质反映了当代生活的脱节和碎片化，尤其是当人类越来越沉浸在元宇宙中时。Osipowicz的图像反映了物质世界的消解，创造了一个层次分明的消失叙事，物质世界在我们眼前消失，被短暂的数字空间所吸收。
Osipowicz的艺术存在于这个阈限空间中，存在与缺失、可见与擦除共存。艺术家将自己的作品置于现实与想象的交汇处，对这个以沉浸于物理和虚拟世界为特征的时代存在的本质进行了发人深省的评论。她的艺术挑战观众重新思考他们与地点、记忆和意义的关系，将观看行为转变为一种邀请，让他们反思人类体验不断变化的本质。
– Regina Johas教授（博士）
Katarzyna Osipowicz’s body of work is a profound exploration of perception, memory, and emotional resonance, brought to life through photography and collage. Her art defies conventional expectations of visual media as a tool for documenting reality. Instead, it offers a lens into the deeply subjective, internalized world where spaces are transformed into emotive and personal visions. Echoing the videomaker Bill Viola’s concept of “video as mind,” Osipowicz does not approach her medium as a means of recording reality but rather as a way to translate internal impressions onto it, creating a layered dialogue between the visible and the imagined.
For Osipowicz, the camera is not a passive instrument of observation but a dynamic tool—a means of reinterpreting the world through a deeply personal lens. It functions as a bridge between the physical environment and the artist’s inner vision, reversing and reshaping reality to reflect how she perceives and feels a space from within. In doing so, Osipowicz creates inherently subjective works, offering impressions of places that are less about the external reality of their forms and more about the emotional and psychological traces they leave behind.
Her work captures fleeting and elusive moments: interactions, the weight of emptiness, and the inevitability of disappearance. Each composition invites viewers to pause and confront the transitory nature of existence. A central element of her practice is the use of whiteness, a visual motif that absorbs and erases simultaneously. This void-like quality mirrors the disconnection and fragmentation of contemporary life, especially as humanity becomes increasingly immersed in the metaverse. Osipowicz’s images reflect the dissolution of the physical world, creating a layered narrative of disappearance, where the material world fades before our eyes, absorbed into the ephemeral, digital expanse.
Osipowicz’s art exists within this liminal space, where presence and absence, visibility and erasure, coexist. By situating her work at the crossroads of reality and vision, Katarzyna Osipowicz offers an evocative commentary on the nature of existence in an era defined by its dual immersion in the physical and virtual worlds. Her art challenges audiences to reconsider their relationship with place, memory, and meaning, transforming viewing into an invitation to reflect on the ever-shifting nature of human experience.
Universidade Federal do Rio Grande do Norte Departamento de Artes – CCHLA
“这些在上海驻地期间创作的作品，它们是有形世界与它留给我的印象之间的视觉桥梁。白色是我作品中反复出现的主题，它扮演着双重角色：它吸收周围的世界，同时又将其遮蔽，呼应着我们这个时代的脱节。这种抹杀反映了人类对元宇宙的沉浸 – 在这个领域，有形的东西消失了，存在转移到了数字虚空。通过这些作品，我邀请观众质疑感知的界限，并思考我们的经验 – 内部和外部 – 如何在意义的形成中交织在一起。”
“My works, created during the art residency in Shanghai, are a visual bridge between the tangible world and the impressions it leaves within me. Whiteness, a recurring motif in my pieces, plays a dual role: it absorbs the surrounding world while simultaneously obscuring it, echoing the disconnection of our age. This erasure reflects humanity’s immersion in the metaverse – a realm where the tangible dissolves and existence shifts into the digital void. Through these works, I invite viewers to question the boundaries of perception and to consider how our experiences—internal and external—intertwine in the making of meaning.”
digital collage, fine art print on Epsom Matte 189g paper
photography, fine art print on Epsom Matte 189g paper
photography, fine art print on Epsom Matte 189g paper
photography, fine art print on Epsom Matte 189g paper
digital collage, fine art print on Epsom Matte 189g paper
关于艺术家 About the Artist
Katarzyna Osipowicz（生于 1979 年）是一位自学成才的波兰艺术家和平面设计师。Osipowicz以超现实主义照片蒙太奇领域的作品而被熟知，她用普通建筑和环境的照片构建梦幻般的城市和超凡脱俗的风景。她的拼贴作品大多描绘空旷的空间，没有人，给人一种令人难以忘怀的安静和孤独感，让观众穿越空灵、荒凉的风景。
她的作品模糊了现实与想象之间的界限，邀请观众进入地下世界，在那里空间既熟悉又陌生。在《DEMONTAGE》中，她探索了穿越这两种现实的旅程的概念，提供了与空虚相呼应并唤起梦幻场景的空间。Osipowicz将摄影与拼贴技术相结合，利用她在纽约、罗马、维也纳、华沙和柏林等城市旅行时拍摄的图像。最终，她创作的一系列作品反映了这些城市环境的多样化建筑风格和氛围，通过拼贴画将其转变为违背逻辑和理性的空间。
她的拼贴画采用传统和数字方法创作。她作品的手工制作部分通常包含旧报纸等材料，而数字部分则涉及她自己的照片，这些照片是在计算机上处理和创作的。
Osipowicz的作品是对空间、建筑和记忆的视觉探索，创造出既熟悉又遥远的环境，呼应了梦境的超现实本质。
Katarzyna Osipowicz (b. 1979) is a self-taught Polish artist and graphic designer. Known for her work in the realm of surrealist photomontage, Osipowicz constructs dreamlike cities and otherworldly landscapes from photographs of ordinary buildings and environments. Her collages depict mostly empty spaces, with no people, that echo with a haunting sense of quiet and isolation, offering viewers a journey through ethereal, often desolate landscapes.
Her work blurs the lines between reality and imagination, inviting viewers into underground realms where space feels familiar and alien. In DEMONTAGE, she explores the concept of a journey through these dual realities, offering spaces that echo with emptiness and evoke dreamlike scenarios. Osipowicz combines photography with collage techniques, utilizing images captured during her travels to cities like New York, Rome, Vienna, Warsaw, and Berlin. The result is a body of work that reflects the diverse architectural styles and atmospheres of these urban environments, transformed through her collages into spaces that defy logic and rationality.
Her collages are created using both traditional and digital methods. The hand-made portion of her pieces often incorporates materials such as old newspapers, while the digital aspects involve her photographs, manipulated and composed on the computer.
Osipowicz’s work serves as a visual exploration of space, architecture, and memory. It creates environments that seem at once familiar yet distant, echoing the surreal nature of dreams.
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