Grzegorz Borkowski, PAINTING POSSIBIBITIES.

It must be admitted, with cautious optimism rather than sarcasm, that contemporary painting is in a very interesting situation indeed. We remember, at the same time, just what dangerous truth is contained in the eastern wish – may you live in interesting times. Painting has now reached a purgatory of its own. It is now undergoing the test of fire – competition with abundance of effective forms of the visual language of modern times, and a test of water – disregard and accusations that it is a mere relict of the past. The passed importance of the art, which was the highest not too long ago, is now more of a pang of conscience than an incentive to restore it.
However, the state of the general lack of acceptance only forces the more determined artists to try and purify painting from elements which are more convincingly represented by more modern media. There are individual search efforts made in different directions, seeking new values that only painting can reveal, realize and develop. The state of the evolution in this field has not yet been decided thus the innovative stirs in painting are characterized by a vividness unseen in other forms of art.
The inventiveness found in many works by Marzanna Moroziewicz reveals the significance and the special expression of the basis on which they are created, leading to something which was present in the oldest form of painting, when it was still done on walls.
Works painted on walls speak not only by themselves but also through the place of their location with which they are inseparably entwined. Such painting do not possess the freedom of easel paintings, which are always ready (by assumption) to be moved. Wall paintings are tied to the selected base and the surrounding to which they have been introduced and which also is part of the composition of the message conveyed. As soon as the location of the work is selected, a wall painting, apart from formal differences, follows a different formula of its presence in the world than an easel painting. It is a formula based on the cooperation with a particular fragment of the set reality: a wall, interior, building.
Therefore, what with works which are not painted on a wall but on the human body? Despite the whole paradox of the comparison, both paintings on the wall and on the human body are similarly distant from those created on canvas. The surface of the body and the surface of the wall are existent concrete settings, with their own connections of meanings, records of the form and biographies. Any mark on such a basis receives a new content.If it is not possible to cover one’s body with ever new pictures, the new paintings can be created on spatial replicas of body fragments, as if they were shells of the body. The nature of the relations between the image and the body, which is an unchangeable however changing concrete element, will be maintained.
We are bodies not only to be able to eat but also to communicate (in many ways). Apart from the fact that we put garments on our bodies, we can create images on it. So far the possibility to create painting on our own bodies has been left to the peoples of the “archaic” cultures. And it seems weare bound to wish we had the same luxury to do so. As long as we are carnal, it makes sense to take it into consideration.

Grzegorz Borkowski, PAINTING POSSIBIBITIES, 2002.