Dominika Olszowy
Household spirit, 2019, mixed media, cement, concrete, cotton wool, wood, steel, fabric, epoxy resin, ash branches, variable dimensions.
Courtesy of the artist and Raster Gallery.
Household Spirit is an installation that refers to domestic space as being characterized by conflicting emotions: intimacy and fear, relaxation and suffocation, respite and paranoia.
The objects and situations created by the artist emanate both good energy and bad taste, suggest the possibility of rest and a threat of mental torture. Olszowy combines in her works a fascination with pop spirituality, the New-Age culture of fortune-telling and magic, with a psychoanalysis of popular household effects: upholstered leather furniture and curtains. The stories behind them have both fantastic and therapeutic potential.
Dominika Olszowy studied Intermedia at the University of Arts in Poznań and in the Faculty of Media Art and Scenography at the Academy of Fine Arts in Warsaw. Recipient of Minister of Culture and National Heritage art grants, winner of the Views 2019 Deutsche Bank Foundation Award for the most interesting young Polish artist. She has presented her work at venues such as the Zachęta National Gallery of Art, CCA Ujazdowski Castle, and Museum of Modern Art (all in Warsaw), Plato Gallery (Ostrava), Raster Gallery (Warsaw), lokal_30 (Warsaw), MOS (Gorzów Wielkopolski), and at the Riga International Biennale of Contemporary Art (RIBOCA), Latvia. In 2008, she started the ephemeral Sandra Gallery. Former member of the radical hip-hop collective Cipedrapskuad and the moped gang Horsefuckers M.C. In her original practice, she uses prepared everyday articles, which she then reworks using artistic media such as video, performance, installation art, or scenography. Her work combines themes of life and art, truth and fiction, as well as all kinds of conventions and aesthetics which she juggles at will. Her works are insightful metonymies of late-capitalist bourgeoisie, created in the manner of post-Internet art. She produces works that she sometimes considers as amulets that enchant and co-opt a crisis-ridden reality, transforming personal experiences into universal statements, streaked with subtle humour, about the human condition and time.