The activities of a process: burning, casting, moulding, fixing, care. The artist’s studio is strewn with bits and pieces of all sorts, including plaster, charred wood and canvas. The casts, lined up or scattered, the shells bring to mind archaeological traces and testimonies of the past. Everything is in shambles, mixed up and acquiring shape. The earlier recognisable, individual and expressive drawn gesture of Katarzyna Klich retreats into process and substance, as if into the interior of form and experience. The artefacts, which both want to reveal and resist disintegration and instability through the symbolic order of art, continue to remain in this world. Even if they get disintegrated – by themselves or by others’ actions, they will remain as gestures, traces in our memory, a memory of substance. We do not know for how long, though. Wood, plaster, canvas, and newspapers are both ready-mades and creative material. Artificial creations, preparations and phantoms of reality, in their haptic and perceivable existence, trying to conserve what cannot be stopped, get immersed in time and are as if imbued with it. Time is inherent in them. In their substance and formation process, in the creation gesture, they seem to encapsulate what is present, what is Now, what Has Been and what Will Be, as if the artist wanted to abolish the legitimacy of temporal divisions. The Artist seems to bandage the underlying fragility and instability, or apparent “stability” with CARE and beauty of form. Klich does not shock with destruction but tries to give shape to fragile matter in order to save it, if only for a moment, within consolidating form. The reconstruction of the process of creating Katarzyna Klich’s forms reveals some ritual. Tamed deconstruction and re-construction show a state where the original energy of the material, the warmth of wood and of solidifying plaster vanishes to leave congealed shells, fulfilled for a moment before a postponed dispersal. The photographic images, too, have a double nature; they are both a documentation and another “incarnation” of the artist’s objects. The intricately built forms ultimately end up in two divergent realms, two different contexts. The first one is a ploughed field, their place of origin, it seems; the other one is a gallery. Both situations make up a space of both deracination and renewed root-taking, of “transcendence”. The entire process begins and ends with something. The substance of a tree – wood – ash – form. Fire, glow, warmth, smell, chill. Bits and pieces. I believe that, aware of entropy, Katarzyna Klich poses the following question to herself and to us: how can we “capture” and make permanent, rather than stop, the inevitable process? She must reconstruct memory and value within herself. She seems to harbour within herself a “childlike” dissent and a need for experiencing with the sense of touch.
Adam Nowaczyk
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