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Alicja Pakosz Nesting Season II, 2024

 

Medium: Acrylic on paper


Dimensions: 11.6" x 8.2" [29.7 cm x 21 cm]

 

To see more photos or a closeup video of artwork, please inquire to hi@herclique.com.

 

This work will be shipped from Lisbon. The listed price does not include shipping. We will contact the buyer within 24 hours of purchase to coordinate shipping, with the shipping cost to be covered by the buyer.

 

Amount

Price

€1.200

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Description

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Alicja Pakosz (b. 1996) is a Polish born and based painter, sculptor, and creator of large-format dioramas. Her artistic practice involves regularly painting on paper in the popular A4 format, thus creating a personal archive of ideas and themes. She "evokes" some of these narrative-driven works in a different medium (diorama) or scale (on canvas). For the purpose of exhibitions, she handles works in a quasi-curatorial manner, bringing them together in sets that give them new meanings.

Graduate of the Academy of Fine Arts in Kraków. From 2018 to 2019 she studied at the Akademie der Bildenden Künste in Nuremberg. Currently, she is a PhD. Student at the Doctoral School of the Pedagogical University of Cracow.

Pakosz’ work is featured in A PROFECÍA. Curated by Filipka Rutkowska as a continuation of Casa Filipka – an ongoing project organized together with Her Clique – A PROFECÍA is centered on an envisioned future through the female gaze; one that enables a more empowered, speculative relation to both time and space, plant, landscape, and animal; one that breaks the brutality of dualistic thinking and binary structures and replaces them with a spectrum, acknowledging and honoring the and rather than the or. Following principles of transfuturism, and emerging from histories like that of Casa Susanna, this exhibition is a frame for repositioning one's own body as the intermediary for a more intuitive knowledge; a knowledge that doesn’t make assumptions but rather listens, looks, smells, tastes, hears, feels, orients, and balances. A knowledge that doesn’t require eyes for seeing but presupposes sentience, non-human intelligence, time, cycles, and the fluidity of being (in its broadest possible definition), and exists within a continuum of experiences and knowledge, through-out (non-linear) time. And as this knowledge becomes accumulated and disseminated, and as personal mythologies merge with predominant norms, feminist histories, ecologies and states of being, through rose-tinged utopian lenses we divine a centered space that is Other – healing, forgiving, holistic, transparent, and visible – in and of itself.