Bajka o Saszy/Tale about Sasza

cover

“Tale about Sasza” written and ilustrated by myself is a short rhyming story. The source for inspiration comes from my cat’s eating habits his obsessive appetite pushed me to create the tale. It is written in Polish language. Suitable for kids at any age
http://www.amazon.com/gp/product/B0173WI72A…


Dublin The Liberties

‘Who does the street belong to?’ Dublin The Liberties’.
Last summer on my way back home I’ve heard familiar scratching sound on the street: the sound ‘out of scratch’.
Then I saw the woman stripping up the exterior wall of her own house in the liberties area. I stopped and asked if she wouldn’t mind if I could take with me all those bits that fell down on the footpath. She said she wouldn’t. I’d say she was glad I’m taking them away because if I wouldn’t take them she would have to sweep them all up and put them in a bin-she said. The lady didn’t even ask why do I need them she was just laughing looking at me picking up the scraps which encouraged her to scrape the walls even harder to produce more bits. I brought them up to my studio, put it to the envelope stamp the date time and description of the content and went to eat something. Then I forgot about them. I appeared in my studio few months later.
One day I drew a sketch and I knew it’s about the Liberties. The sketch is far from ‘perfect’ but at least is says what the initial idea is about. I washed the scraps in a hot water mixed with soap and domestos and after I dried them up I noticed some of them are fragile like butterflies so I picked them up with tweezers layer by layer to reconstruct the skin of my neighbourhood.

ewa fornal

untitled


Beneath the Surface of Abandonment

Paul Mullins historical archeologist shares his thoughts on Abandonment art relating to my work

Archaeology and Material Culture

Abandonment art is routinely lamented for its literal and metaphorical focus on aesthetic surfaces; that is, abandonment art risks reducing the weathered, damaged, and derelict exteriors of abandoned buildings to an ahistorical style that fails to illuminate processes of ruination.  Some critiques of ruin art are guilty of their own romantic desire to paint transparently uplifting or “authentic” pictures of a place; in many instances, they somewhat xenophobically resist a host of “outsiders” spilling into eroding urban cores; and some critics of “ruin porn” hazard ignoring the genuine structural decline of much of urban America.  Nevertheless, a shallow gaze on abandoned landscapes may indeed hazard trivializing complicated historical decline by fixating on the visual dimensions of ruin.

Ruins may well have assumed their elevated contemporary prominence because of the digital documentation of abandonment: the likes of flick’r and tumbl’r are awash with ruin images; instagram-armed camera phones document…

View original post 493 more words


Metaphors for Abandonment: Exploring Urban Ruins

Archaeology and Material Culture

An astounding number of web pages document abandoned materiality, encompassing a broad range of architectural spaces including asylums, bowling alleys, industrial sites, Cold War sites, and roadside motels as well as smaller things like pianos and even scale models of abandonment.  This ruination lust is not simply the province of a small handful of visual artists, hipsters colonizing Detroit, or recalcitrant trespassers; instead, it invokes something that reaches far deeper socially, has international dimensions, extends well into the past, and reflects a deep-seated fascination with—if not apprehension of—abandonment.  The question is what explains our apparently sudden collective fascination with abandonment, ruination, and decay.  The answers are exceptionally complex and highly individual, but there seem to be some recurrent metaphors in these discourses.

For “urban explorers” (a term that might loosely include artists, photographers, archaeologists, and curious folks alike), such journeys seek out “abandoned, unseen, and off-limits”…

View original post 2,997 more words


magdalene laundries

Magdalene Laundry remnants. Badge holder, lanyard, old paint and plaster scraped from laundry window sill and front gate of St Mary’s Refuge, High Park, Grace Park Road, Dublin Drumcondra

remnantsa2ML1


E.Street

Hi everybody, this is to invite you to my current exhibition  as a part of Dublin Culture Night on the 21st September. Come along and say hi For detailed directions, please check out web http://www.cfcp.ie  


solo show

I’m happy to announce and invite you to my first solo show. Opening night August 16th at The Ivy House in Dublin New work based on my urban research. Here’s a little blurb about the exhibition. Hope to see you there

Art at The Ivy House is delighted to present Scraping off the past – the first Dublin solo exhibition by Polish artist Ewa Fornal. She is a Polish artist working in Ireland who in her work explores weather, location and time through responding directly to her environment. Exploring the unique palette of location, the colours and textures, Ewa incorporates fragments of urban space into her work – looking for the hidden past in the building materials and detritus that becomes the soil from which the work grows. The process involves removing components from their urban context and placing them in a new one where they can grow into new meaning – the layers of plaster and paint like memories painted over and lost. By transferring man-made artifacts into her artworks she attempts to build a new system of references.

It is about exploring how the past has left its mark, smoke stained walls, blistered paint, the cardboard box in the doorway, the phone number on a toilet wall, the used condom in the back alley all about the trace, the marks that still exist beneath the past onion-like layers.The materials I work with have been exposed to many years of wind, sunlight, extreme cold, and rain. Through the metaphorical expression I can say that for the last one hundred years changeable Irish weather was my best employee.

I attempt to recreate the city of Dublin in relation to present. The essence of Dublin atmosphere the vision of the city captured in the work of Irish writer James Joyce – the fractured narrative in the everyday of Ulysses.

Ewa Fornal 2012

Ewa Fornal graduated from Academy of Fine Arts Faculty in Poznan, Poland in 2007. She moved to Dublin in 2009 and has exhibited widely in group exhibitions in Ireland and abroad including exhibitions at Sycamore Club Dublin, Filmbase Temple Bar, The Crow Gallery, Temple Bar, Festival of World Cultures, Dun Laoghaire, Castlpalooza Music and Arts Festival, Monster Truck Gallery, Temple Bar, The Clyne Gallery, Temple Bar and Jam Art Factory, Dublin. Most recently Ewa was one of twenty participants selected for the International Annual Art Exhibition at Box Heart Gallery in Pittsburgh/Pennsylvania

 


%d bloggers like this: