Patryk Stasieczek, Gestured Interference (011), 2015
UV-laminated digital C-print on metallic paper

Patryk Stasieczek, Gestured Interference (007), 2015
UV-laminated digital C-print on metallic paper

Patryk Stasieczek, Gestured Interference (001), 2015
UV-laminated digital C-print on metallic paper

Patryk Stasieczek, Light Painting (Moire), 2013
UV-laminated chromogenic monotype print

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Patryk Stasieczek, Gestured Interference (011), 2015
UV-laminated digital C-print on metallic paper

Patryk Stasieczek, Gestured Interference (007), 2015
UV-laminated digital C-print on metallic paper

Patryk Stasieczek, Gestured Interference (001), 2015
UV-laminated digital C-print on metallic paper

Patryk Stasieczek, Light Painting (Moire), 2013
UV-laminated chromogenic monotype print

Asking for It

Patryk Stasieczek’s solo exhibition Asking for It is the result of an ongoing photographic investigation into an embodied material practice toward the occurrence of an event. Within photography’s background, an event is considered an artifactual witness of an operation, as it provides access through the delineation of a trace on some form of light-sensitized material. The photograph itself becomes an extension of the body, being extended through calculated optics and limitations, as presented by the medium of photography. By looking at the photographic event in this way and accepting the limitations of the photographic practice, only a composite view is the phenomenon by which a record of things can be further examined.

Through this, the measurement of the body in images illustrates the evocative shift of photography today. As the movement toward the immaterial digitalism of photographic process progresses, photographs are further situated as an anticipated function of events through their mediated reliability, which in their technological accessibility have further propelled the photographic act towards that of instant image-expression and consumption.

Stasieczek takes the idea of an immaterial photographic production back into the darkroom and produces compositional light paintings (photogram collages) within the disembodied space of complete darkness. He composes images using a variety of lighting materials and digital technologies, coupled with sensitized photographic surfaces, allowing for his body to calibrate the exposure and gesture. The resulting photographic traces hold an intentionality that is a direct response to the spatial parameters of their composition and are further informed by the legacy of production knowledge located in the body. This method of production is distilled in the installation and configuration of the photographs as image-objects and light-objects, within a physical environment.

This exhibition consists of photographic light paintings, digital C-prints that capture the interference of digital image technologies, and a deconstructed lightbox work.

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