Magdalena Dukiewicz
Interview by Kate Schwarting, Programs Manager
Artist Magdalena Dukiewicz
KS: What inspired your interest in blending art and science?
MD: It’s not really about science per se in my work. I like to learn and experiment but I am not pretending that I am ever going to become a scientist. I am more interested in phenomena that run our world, general concepts that I can relate to and translate to a visual representation. I am trying to describe them, or rather visualize my understanding of those processes. So I would say that what brings me to this idea is simply a curiosity of how the universe works and what is our role and place in it, our relation with each other and with nature. This need that we probably all have, to comprehend the universe just a little bit better. For me the most natural way is through visual representation. Materials I am using are just a natural consequence.
MD: It’s not really about science per se in my work. I like to learn and experiment but I am not pretending that I am ever going to become a scientist. I am more interested in phenomena that run our world, general concepts that I can relate to and translate to a visual representation. I am trying to describe them, or rather visualize my understanding of those processes. So I would say that what brings me to this idea is simply a curiosity of how the universe works and what is our role and place in it, our relation with each other and with nature. This need that we probably all have, to comprehend the universe just a little bit better. For me the most natural way is through visual representation. Materials I am using are just a natural consequence.
Entropy (2018) mobile installation. cuttlefish ink and hydrolyzed collagen with air bubbles, metal wire, dimension variable. Photo Credit: On White Wall
KS: How does your selection of materials and the process you use to synthesize them create meaning in your work?
MD: Usually I discover a material and start playing with it and then get obsessed with it. I have several materials I am working with simultaneously and then chose the one that suits the concept the most. A good example of this is the Flesh and Blood series. I was developing a project on identity and right at the same time I started working with hydrolyzed collagen and then with bovine blood. Materials just blend perfectly with the subject.
Generally my works revolve around the binomial art-nature; exploring topics such as transhumanism and posthumanism but also current issues in socio-politics. I believe that the premise behind my work is very timely. I use organic materials like hydrolyzed collagen, bones, squid ink, hair and blood among others; sometimes also found materials. Pieces are fragile and meant to deconstruct and finally decomposed. The Performativity of each piece is part of the completion of both the creative cycle and life cycle (since this is a reuse of organic material that will be back in nature). Ecology is an important part of my statement - my sculptures leave no waste. Sometimes I even reuse the artworks themselves to create a new one.
I like the contrast between material and appearance. I have an interest in playing with materials that are culturally charged with meaning. Those esthetically sublime installations often confuse audience members who do not expect body fluids being use as an art material. Intrigued by the form and led by curiosity, they tend to touch them and often end up disgusted by the material.
I like to mixed materials coming from human and animal, highlighting the fact that we are all just part of nature, even though I perversely name some of my sculptures Bastards.
On the top of it is the idea of using my own blood. It is a very bizarre feeling, which creates an intimate relation with artwork. I literally become a part of my works. In the future I will use other people’s blood as well, which will be a huge responsibility.
MD: Usually I discover a material and start playing with it and then get obsessed with it. I have several materials I am working with simultaneously and then chose the one that suits the concept the most. A good example of this is the Flesh and Blood series. I was developing a project on identity and right at the same time I started working with hydrolyzed collagen and then with bovine blood. Materials just blend perfectly with the subject.
Generally my works revolve around the binomial art-nature; exploring topics such as transhumanism and posthumanism but also current issues in socio-politics. I believe that the premise behind my work is very timely. I use organic materials like hydrolyzed collagen, bones, squid ink, hair and blood among others; sometimes also found materials. Pieces are fragile and meant to deconstruct and finally decomposed. The Performativity of each piece is part of the completion of both the creative cycle and life cycle (since this is a reuse of organic material that will be back in nature). Ecology is an important part of my statement - my sculptures leave no waste. Sometimes I even reuse the artworks themselves to create a new one.
I like the contrast between material and appearance. I have an interest in playing with materials that are culturally charged with meaning. Those esthetically sublime installations often confuse audience members who do not expect body fluids being use as an art material. Intrigued by the form and led by curiosity, they tend to touch them and often end up disgusted by the material.
I like to mixed materials coming from human and animal, highlighting the fact that we are all just part of nature, even though I perversely name some of my sculptures Bastards.
On the top of it is the idea of using my own blood. It is a very bizarre feeling, which creates an intimate relation with artwork. I literally become a part of my works. In the future I will use other people’s blood as well, which will be a huge responsibility.
Bastard 2 (2017) hydrolyzed collagen and air bubbles, approx. 13ft x 5ft x 20". Photo Credit: Magdalena Dukiewicz
KS: Many of your sculptures are constructed to eventually dissolve over time. For those able to see your work in person, what is one thing you would like them to take away from the experience?
MD: Materials that I use are always organic and fragile so artworks are constantly transforming and will disintegrate eventually. That is why I like so much working on the site-specific bases. In my opinion, art should be an experience so what matter most is a direct contact with a piece.
Another factor is temporality of the experience that may result in sensation of exclusivity of that experience. Sculpture or installation is then never the same; it’s evolving so almost every viewer will see it slightly different. It is also a reflection on materialism in general, why we need to possess and collect. I am trying to emphasize “being” rather then “having”. It’s also about the value of things (especially artworks), how relative it is and how it changes over time. Maybe it’s also a sign of times we live in, that we need more and more stimulus so there is no need for them to last long.
In my most recent installation “Entropy”, which was a piece I created for the inaugural exhibition at BioBAT Art Space, the transformation is not only based on material but also on fact that the pieces are hanging and moving freely just with a slight air movement. The presence of the audience is crucial since it triggers the process.
Entropy means a balance of energy, which seeks to spread out evenly. One of the theories says that once we use all of the fossil fuels on earth and energy from the Sun-death of the universe will lead to its end. It’s a very slow but continues process that we are ignoring in everyday life. The degradation of the matter and energy in the universe to an ultimate state of inert uniformity - entropy is the general trend of the universe toward death and disorder. But entropy applies to closed systems of any size. My installation shows this process on a small scale and I hope the viewer will feel its power. This beautiful disaster is so peaceful and pleasant to observe but you perceive that sooner or later it’s going to end. It is a paradox. I like to leave my audience with this feeling.
MD: Materials that I use are always organic and fragile so artworks are constantly transforming and will disintegrate eventually. That is why I like so much working on the site-specific bases. In my opinion, art should be an experience so what matter most is a direct contact with a piece.
Another factor is temporality of the experience that may result in sensation of exclusivity of that experience. Sculpture or installation is then never the same; it’s evolving so almost every viewer will see it slightly different. It is also a reflection on materialism in general, why we need to possess and collect. I am trying to emphasize “being” rather then “having”. It’s also about the value of things (especially artworks), how relative it is and how it changes over time. Maybe it’s also a sign of times we live in, that we need more and more stimulus so there is no need for them to last long.
In my most recent installation “Entropy”, which was a piece I created for the inaugural exhibition at BioBAT Art Space, the transformation is not only based on material but also on fact that the pieces are hanging and moving freely just with a slight air movement. The presence of the audience is crucial since it triggers the process.
Entropy means a balance of energy, which seeks to spread out evenly. One of the theories says that once we use all of the fossil fuels on earth and energy from the Sun-death of the universe will lead to its end. It’s a very slow but continues process that we are ignoring in everyday life. The degradation of the matter and energy in the universe to an ultimate state of inert uniformity - entropy is the general trend of the universe toward death and disorder. But entropy applies to closed systems of any size. My installation shows this process on a small scale and I hope the viewer will feel its power. This beautiful disaster is so peaceful and pleasant to observe but you perceive that sooner or later it’s going to end. It is a paradox. I like to leave my audience with this feeling.
Flesh and Blood (2018)
series of sculptures made out of blood and hydrolyzed collagen with air bubbles. Photo Credit: Jung Hee Mu
KS: Do you have any projects or exhibitions you are working on?
MD: A few months ago I started to develop this new series title: “This is my blood. This is my body”. I utilize my own blood mixed with collagen to discuss topics such as sacrifice, guilt and shame. In various chapters of this series with subtitles: On Motherhood, On Violence, On Sacrifice among others, I bring up very timely problems resulting from feminine social roles imposted by a patriarchal society.
The central object of the On Motherhood chapter, which I begun with, is going to be a home-shaped installation approx. 90 square feet and 8ft tall- synthetic form of walls and roof made out of collagen and my blood. In addition I create different objects in the shapes of object that you typically can find at home like lamp, rug, plates, cups, or table.
It will be a combination of a ready-mades (everything re-used) and blood/collagen elements.
By using my own blood I emphasized that I am the only one in control over my own body.
In the future I would like this project to evolve in a collaborative project. I already have people that offer to donate their own blood to be a part of it. Though there are several restrictions on use of human blood so it may take a while to develop this idea.
MD: A few months ago I started to develop this new series title: “This is my blood. This is my body”. I utilize my own blood mixed with collagen to discuss topics such as sacrifice, guilt and shame. In various chapters of this series with subtitles: On Motherhood, On Violence, On Sacrifice among others, I bring up very timely problems resulting from feminine social roles imposted by a patriarchal society.
The central object of the On Motherhood chapter, which I begun with, is going to be a home-shaped installation approx. 90 square feet and 8ft tall- synthetic form of walls and roof made out of collagen and my blood. In addition I create different objects in the shapes of object that you typically can find at home like lamp, rug, plates, cups, or table.
It will be a combination of a ready-mades (everything re-used) and blood/collagen elements.
By using my own blood I emphasized that I am the only one in control over my own body.
In the future I would like this project to evolve in a collaborative project. I already have people that offer to donate their own blood to be a part of it. Though there are several restrictions on use of human blood so it may take a while to develop this idea.
This is my body. This is my blood (2018-)
chapter one: on motherhood
series of sculptures/objects made out of the artist's own blood and hydrolyzed collagen with air bubbles. Photo Credit: Magdalena Dukiewicz
Entropy(detail) (2018) cuttlefish ink and hydrolyzed collagen with air bubbles, metal wire, dimension variable. Photo Credit: Laura Marril
