Freesbe Painting

Born in 1981Lives and works in Warsaw, Poland IWONA ZAWADZKA HAS BEEN INTERESTED SITUATUON OF THE SUBJECT projecting his own illusions when faced with danger, isolation, reduction and an instrumental approach.The painter has collected her own images in the privacy of her home which separated from the aggressive outside world seem innocent and authentic. The not precisely defined gestures are visible under a veil of an intimate dshabill and house chores. A private photo album, composed of a series of girlish postures, is the place to identify female body language. The artist has specifically codified this. She has taken out figures out of their context, combined them into new, separate idol group images, and finally transferred these onto the canvas. Girls dressed in gym leotards are approaching the enigmatic spectrum characters from the canvas The Sneaking In. The illusory, phantasm like target that breaks human intestines is to claim them shortly (The Sneaking In II). The works by the artist put a viewer in the position of separating the reality form the Real. The spectral absorption, just as desires satisfactions, turns out to be incomplete and bringing no fulfillment. It merely stimulates energy fields of desire which permeate and stigmatize the body. As a result, partial object appear, autonomic organs with no body, the desires with no definite purpose, demanding to be fulfilled. The phantasm like Reality, in its purest form, provides the moving rhythm for these works. This is quite visible in the Rainbows, where a color spectrum holds all female characters in vertical positions in the state of being suspender over the ground, in the mood of melancholic submissiveness. Their hands raised in a gesture of surrender are an attempt to exceed the canvas framework to reach the real world.The dualistic division between the genuine and the Real has been present to a certain degree in all her works. In Six and a Half, Frame II and IV , The Pink, the spectral oriented nature of desires originates in things, protective layers covering a female body: a dress, underwear and pajamas. The intimacy confined to a painting laboratory, left her alone has been spreading visually like a phantasm. It has been permeating an object of desire, dissolving in it, becoming total, oceanic and resistant to all exterior meanings. Thus, the overwhelming aesthetic disarms the subject and cuts it out from reality. A chance to create authentic meaning has been immobilized.