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OBJECT N.24, mirror, hand-carved sycamore wood, polished steel, H260 x W25 x D25 (H250 x W25 x D70) cm
OBJECT N.31, mirror, red oak wood, glass, H45 x W30 x D10 cm
OBJECT N.2, mirror, elm wood, oak wood, glass, H180 x W43 x D73 cm
OBJECT N.29, mirror, oak wood, glass, H121 x W27 x D110 cm
OBJECT N.1 wall-hang mirror, hand-carved sycamore wood, glass,
H66 x W49 x D13,5 cm
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OBJECT N.16, mirror, hand-carved red oak wood, glass, H134 x W86 x D96 cm
OBJECT N.28, mirror, ash and oak wood, glass, H60 x W13,5 x D35 cm
OBJECT N.30, mirror, red oak wood, glass, H45 x W30 x D34 cm
Credits:
Concept, design and making: Anna Bera
Photos: Emilia Okesntowicz, Marta Pruska for Nów, Mili Studio for Desa, Oni Studio, Wojciech Tubaja, Budzik Studio for Hawrot Home
Year: 2021 - 2024
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I am searching for a specific mode of existence of objects in space, a manner that is monumental and heavy, even ostentatious; where an object is something that appears suddenly and without justification, but its existence is indisputable. It exists as if it was unable to non-exist even if it is absurd. This play with the form of an utility object results in a collection of sculptures that may perform the functions of mirrors. However, due to the scale and proportion between the two materials— wood and mirror—they never completely gain the identity of either a frame or a mirror. There is no reason why they are what they are.
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"The object is what exists and what is perceived. Its status is defined by being and being observed. Not everything is an object, only those things that able to exert influence and draw our attention. We do not invent objects; we only happen to encounter them. They come to us from the outside and demand that we listen. A fragment we are able to customise and impose upon the world; an object imposes something on us." - Jolanta Brach-Czaina
I think about something potent, explicit, so much so that it’s obscene, like it really is. You can touch it. It’s heavy and if it were to fall on me, it would crush me to pulp. I wanted it to be like death; for instance, a stone is like death. I say ‘a stone’ or I say ‘a tree’, but what tree precisely? Imprecisely, quite simply; a tree.
Obscenely obvious things interest me.
There’s a moment when something that hasn’t previously existed as a possibility comes about magically, as it were, because it happens unexpectedly and immediately, incontrovertibly, you might say. The appearance of that something isn’t the result of deliberations, of observation and ascertainment, but belongs under the category of yes-no. Existence-non-existence. And, as with something which was not, but is, what’s astonishing in the end is the obviousness of that something’s existence. Because that something comes about without my participation. This isn’t creating, but more a matter of watching as it emerges or rather as it simply is, because it doesn’t appear, it doesn’t emerge in time, there’s just nothing and then... something. Although, perhaps, even if there isn’t nothing, because there’s no impression of an empty space, the consciousness of the possibility of that something doesn’t exist.
I’d like everything to be directly in view. For a composition to be obvious, for things to be at the central point, perhaps raised somehow, even elevated, uplifted, like standing on a peak.
One thing. Irrevocable. A step taken, uncompromising, a one-off. Without reasoning. Without explanations. Only things that have no need of explanations and descriptions.
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Tao Te Ching - Lao Tzu - chapter 25
Something mysteriously formed,
Born before heaven and earth.
In the silence and the void,
Standing alone and unchanging,
Ever present and in motion.
Perhaps it is the mother of ten thousand things.
I do not know its name.
Call it Tao.
For lack of a better word, I call it great.
Being great, it flows.
It flows far away.
Having gone far, it returns.
Therefore, "Tao is great;
Heaven is great;
Earth is great;
The king is also great."
These are the four great powers of the universe,
And the king is one of them.
Man follows the earth.
Earth follows heaven.
Heaven follows the Tao.
Tao follows what is natural.
(translation by Gia-fu Feng and Jane English)
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The exhibition was supported by the Polish Cultural Institute London, City of Kielce, Adam Mickiewicz Institute and Bieliny Community.
Polish Cultural Institute in London
The Institute's focus lies in promoting Polish culture and heritage to British audiences, as well as developing collaborations and building bridges between key cultural or academic institutions in Poland and the UK. Through nurturing these relationships, providing access to essential cultural resources and supporting through funding, PCI London can successfully showcase the best of Polish art, film, theatre, music, literature, science, and heritage to culturally diverse residents of the UK. Facebook: Polish Cultural Institute Twitter: @PLinst_London
City of Kielce
Kielce is the capital of one of the regions of the European Union in the heart of Świętokrzyskie Mounties. We are unique thanks to the combination of nature, including attractions from the UNESCO list, business potential in the form of Kielce Traid Fairs (Targi Kielce) and culture. The amphitheater "Kadzielnia", built into the rocks of former quarry, creates an exceptional atmosphere and acoustics for concerts and performances. A rich collection of Polish paintings tempts in the interiors of the National Museum located in the baroque former Palace of Krakow Bishops. The Municipal Design Institute and the Faculty of Art of the University of Kielce delight with their creativity and projects. “There are several dozen cultural institutions in Kielce that provide a wide range of services. Renowned artists such as Rafał Olbiński, Marek Cecuła, Krzesimir Dębski and Włodek Pawlik are associated with our city. We also support young and promising talents, such as Anna Bera, who, thanks to the help of the City, gain well-deserved international fame. Kielce is a good place to work and live.” - Bogdan Wenta, Mayor of Kielce, www.kielce.eu
Adam Mickiewicz Institute
The goal of Culture.pl, the Adam Mickiewicz Institute's flagship brand, is to promote Poland and Polish culture abroad. Through the presentation of high-quality initiatives and events in the fields of art, music, and design, Culture.pl aspires to introduce an international audience to contemporary Polish culture. The Culture.pl website provides daily fresh information on the most exciting Polish cultural events worldwide; it is also the biggest and most comprehensive source of knowledge about Polish culture, www.culture.pl
Bieliny Commune
The Bieliny Commune is a picturesque and interesting land located in the heart of the oldest in Europe, the Świętokrzyskie Mountains, at the foot of the majestic monastery on Łysiec, in the buffer zone of the Świętokrzyski National Park. Most of its area is within the limits of the Świętokrzyski National Park and its buffer zone, and includes a fragment of the Cisowsko-Orłowiński Landscape Park. The unique natural and landscape values as well as the special microclimate make it an exceptional and attractive holiday destination for tourists. Captivating mountain views with characteristic striped fields, clean air, numerous places not contaminated by human activity, as well as the proximity of many popular tourist attractions are the natural treasure of these areas. The proximity of one of the region's greatest attractions - the Monastery of the Oblates of the National Museum in the Holy Cross, where the relics of the Holy Cross Tree are located - makes the Bieliny commune a stop for many pilgrims to the top of Łysiec. The Bieliny commune is a treasury of Świętokrzyskie traditions and elements of cultural heritage vigorously cherished by its inhabitants. We cordially invite you to experience the attractions of the Bieliny commune! It is an extraordinary place that attracts tourists with its location, healthy climate, beautiful nature and traditions, www.bieliny.pl www.osadasredniowieczna.eu
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