INNA

In the sculpture presented in the gallery, I refer through the language of art to the problems of the contemporary reception of the biographies of Michalina Tatarkówna-Majkowska, Fifi Zastrow and Stanislawa Przybyszewska. I also reflect on the relationship between the public space and the 'neutral' space of a gallery – a white cube. The sculpture was designed specifically for the gallery space and through its form, relates both to my previous installations in public spaces and to the space of the gallery itself. The form of the sculpture is derived from the form of a cube.

In the empty spaces between the white geometric abstract solids, we can read the word INNA (the Other) that means in this case, that woman is the Other, especially if her way of life does not fit into the stereotypes constructed for the roles of her gender. The letters in the air are visible only when seen from a particular perspective. The letters exist and do not exist at the same time. They are both visible and invisible. They refer to the perception of woman as something lacking and argue against this concept. Thus the key to interpretation of the sculpture is paying attention to the shape of the gaps and clearances, not to the solid forms. The letters read in the empty spaces are 'ready' to fill them with meanings. They also refers to the stencils, which I use to paint texts on the walls of abandoned buildings.

The use of the letters also refers to language itself, which reflects social relationships to power, which are so ingrown in the language structure as to remain unnoticed.

The white solids forming the composition have been slightly 'shaken', evoking the impression of an instability of the whole structure, giving a possibility of shifting meanings. The sculpture is based on a play between modernist rationalism and postmodern sensualism, when interpretation of 'the Other', initiated by feminists though not yet breaking the framework of the system, was becoming more and more present. Patriarchal norms were infected and hacked through resulting in modifications, subversive actions, changes of the form, shifts of meanings.

The white solids forming the composition have been slightly 'shaken', evoking the impression of an instability of the whole structure, giving a possibility of shifting meanings. The sculpture is based on a play between modernist rationalism and postmodern sensualism, when interpretation of 'the Other', initiated by feminists though not yet breaking the framework of the system, was becoming more and more present. Patriarchal norms were infected and hacked through resulting in modifications, subversive actions, changes of the form, shifts of meanings.

The geometric form allows interaction – peering inside through the slits of various widths and with different angles, which are based on the shape of the letters. The interior is covered with mirrored surfaces, which through the reflections at different angle, introduce new divisions and confuse the viewer, who can also see a distorted and fragmentary reflection of his or her own face.