Jagoda Bednarsky

* 1988 in Goldberg, POL
lives in Frankfurt am Main

Jagoda Bednarsky’s painterly imagery deals with questions of layering and planes of localization: What is in the image? What is behind the image? What is in front of the image?

She uses technically reproduced graphics or photographs she comes across in magazines, photobooks and on the Internet, of the everyday and artistic culture of images as found objects, in this way extending the image’s intrinsic logic. The images thus serve as her starting point in terms of both content and form. In their capacity as found objects, the image sources (which frequently reference the actual venue for the exhibition) initially relate firmly to reality. With the collaging and over-painting of found and invented material a seemingly chance and mystical synthesis of ambivalent realities emerges, offering multiple perspective and mutually permeating levels of images. Bednarsky also uses reflections, serial repetitions, duplications and cross-references as means of visual representation, such that in their search for an inherent link between information and knowledge her images exude a mysterious auratic mood.

She adopts the principle used in the cinema of using found footage to tell stories and applies it as information and imagery in her book spine paintings, linking the book’s content, i. e., the “intrinsic knowledge”, with the painting on the cloth back. This is ultimately an advancement in three dimensions of the question described at the beginning as to how levels of images can be pinpointed on the inside and outside – between knowledge and information.



Nassauischer Kunstverein Wiesbaden

Eye Candy, 2014
spray lacquer and c-print on denim, 65 49 cm
Courtesy Philipp Pflug Contemporary