Growing up in Poland I spent my youth horseback riding on Arabian horses and eating
the sweetest strawberries from family garden. Early on, I was exposed to jazz and
theater. The storytelling for adults; it is the oldest oral tradition on passing the universal
message face to face. Where the audience deeply experiences their humanity.
Some of my deep influences come from theater and Polish movie directors. I have
learned how to skillfully read between the lines in post communism yet still PTSD
country. Shirin Neshat is very close to my heart, her magical Turbulent two screen video
installation hunted me for days, music communicated pain and loneliness.
I thought about all the unheard voices of “Her story” not “His story” from the past …show more content…
To counteract these offensive images and messages, the intention of my photographs is to
not only make visible strong contrasts, but to invoke a new visual vocabulary for how
women should be depicted externally, and how they should see themselves internally. My
interest is to document authentic self-confident women, who exude intellect rather than a
vacant expression, those that have embraced their aging with grace and pride, whose
wrinkles reveal character and experience, and wear their "imperfections" as a timeless
accessory.
Rather than perpetuating the creation of these demeaning images as a photographer,
regardless of critique, or continuously being besieged by them as a viewer, my hope
instead is that by revealing the psychological damage that these images promote to the
feminine psyche, especially adolescent young girls, there will be a campaign for
acceptance of visual truths as defining feminine beauty and perfection, rather than
encouraging hollow illusions or mutilation of the feminine body and
the sweetest strawberries from family garden. Early on, I was exposed to jazz and
theater. The storytelling for adults; it is the oldest oral tradition on passing the universal
message face to face. Where the audience deeply experiences their humanity.
Some of my deep influences come from theater and Polish movie directors. I have
learned how to skillfully read between the lines in post communism yet still PTSD
country. Shirin Neshat is very close to my heart, her magical Turbulent two screen video
installation hunted me for days, music communicated pain and loneliness.
I thought about all the unheard voices of “Her story” not “His story” from the past …show more content…
To counteract these offensive images and messages, the intention of my photographs is to
not only make visible strong contrasts, but to invoke a new visual vocabulary for how
women should be depicted externally, and how they should see themselves internally. My
interest is to document authentic self-confident women, who exude intellect rather than a
vacant expression, those that have embraced their aging with grace and pride, whose
wrinkles reveal character and experience, and wear their "imperfections" as a timeless
accessory.
Rather than perpetuating the creation of these demeaning images as a photographer,
regardless of critique, or continuously being besieged by them as a viewer, my hope
instead is that by revealing the psychological damage that these images promote to the
feminine psyche, especially adolescent young girls, there will be a campaign for
acceptance of visual truths as defining feminine beauty and perfection, rather than
encouraging hollow illusions or mutilation of the feminine body and