As Paulina Niemczyk says, "In my artistic work, I not only explore the awareness of who I am, but also the relationship between me and other people. This is the process during which
I try to "take root" in the world around me, so that I can determine
its position in relation to people I know and its phenomena. Sense
belonging to a given place and people is the result of a multistage process and
learning about yourself. The well-established identity is shaped on this path
through deepening our relationships with the environment.
The question of who we are is universal and gives a wide area for interpretation. Often, however, this is one of the most troubling questions, in which you can see a certain type of pressure to enforce yourself and adapt to the rules. On the other hand, the nature of these activities gives a sense of security and strengthens our awareness of who we are.
The internal need to answer the question of who I am and how I perceive myself towards relatives has led me to try to explore this issue. After all, social identity is one of the fundamental elements. The need for a deeper knowledge of myself grew in me. It did not come suddenly, it was more a process than a state. I wanted to clearly define the relationship between me and my relatives. This process was still not fully understood, however, allowed me to look at myself differently - with a distance.
All this allowed me to understand processes such as changeability, negation, taming or acceptance, which constitute the sum of my decisions and actions taken. Contrary to appearances, it was a conscious development. Accepting this fact gave me a fresh look at my „I". "
This is how dr Wojciech Kopeć rewievs the Paulina Niemczyk's work:
„The artist explores the idea of Zygmunt Baumann, who unites an unprecedented interest in the problem of identity (also in art) with a sudden change of reference points, destabilizing the world of social groups, generating a sense of threat. Moving through the artist in the space of collective memories (even those most narrowed) is part of the artistic attitude in a broader context.
Maurice Halbwachs, the creator of the concept of "social memory", compared the world of history to
the ocean in which the outlet has all the partial stories. This ocean may seem
the universal history of mankind - only that it does not exist, and the carrier of every collective
memory is a spatially limited group.
Paulina Niemczyk shows that the identity, she is looking for, is more a process than a state. Discovering history is not digging up the pyramids. It is more like building a house made of blocks. The artist does this by building and rebuilding it her own way. The apparent "objectification" of photography (more unification, giving a specific chromatic feature) are today's activities. In part, it is an expression of meticulousness, in part a desire to reject extremes, to smooth out.
Non-figurative inspiration of Nowosielski's geometric designs is an attempt to determine the border.
A large part of the elements used by the artist in the objects uses a
transparency effect. Willingness to connect with or each other or with the matter of wood is a way to show the influences of images and their contexts. Transparency can be synonymous to the truth. Nothing covers / hides.
It is worth noting that the photographic image technique itself is associated with
transmission and absorption of light. The image, however, completely illuminated would be empty - imageless."