Paintings

In the latest iteration of her practice, Mia Dudek departs from the medium of photography – so far integral to her explorations of the body and space – in an attempt to define a new language of expression. The works that emerge are not so merely a formal shift but a significant ontological shift. These paintings are not meant to depict; but to act as organic events, bodily discharges that materialize from the tension between the visible and the invisible, the present and the absent, the spoken and the unspoken.

The inspiration for this series of works arose from a reflection on bodily inefficiency – not as a flaw, but as a liminal state in which the subject is forced to reformulate their understanding of the body, purpose and identity. In the spirit of Virginia Woolf’s essay, “the state of physical and mental turmoil radically alters one's perception of the world – it strikes at the elemental order of existence, creating a turning point at which the individual withdraws from the previously woven networks of relationships, desires and goals”. This state of “organic collapse” opens the eyes to what is barely perceptible. The accompanying turn inward, which may be read as potential desertion or alienation, marks the first stage of an ongoing transformation.

Dudek’s painting is not about illustrating this transformation, but about experiencing it. The works are nested compositions – structures in which repetition and multiplication serve as a transducer of emotions and tensions. The compositions are meant to resemble palimpsests, where successive layers of matter and meanings arrange themselves into forms – liquid, soft, physiological. Their organic, at times sensual form evokes blood, tears, secretions – not as ornament, but as psychohistory. A deliberate, "unproductive productivity" moving against the current. Each painting, each canvas is an echo of another — a processing, an accumulation, a surge, a repetition that does not seek a final form but remains in a state of continuous formulation.

In this exhibition, echoes of her previous practice continue to resonate: explorations of the relationship between body and architecture, between private intimacy and the impersonal structure of dwelling. After years of working with brutalist architecture and materials of a cold, often oppressive character, I continue a gesture directed inward—without abandoning the questions of boundaries: the body as both interior and surface, painting as a place where substance and intention switch places. Present elements intentionally merge with earlier ones, signaling continuity within the entirety of my practice.

This is not an exhibition of individual paintings—but rather a single work that stretches across the entire room.