Comments
"When the viewer knows that these images are not the creation of photoshop montage, but are the product of your observation of fleeting moments of the transient layering of external and internal realities, the work is very powerful. The stillness of Vermeer and the materialsm of postmodernism. Like a child watching condensation form rivultes, or following a raindrop outside from the 'indoors' we are allowed to wonder at the complexity of scale, time and spaces. Sublime! There should be one on every wall, inviting each to a moment of introspection as we scurry towards our imaginary destinations."
Claire Pajaszkowska, Senior Research Tutor at Royal College of Art, London.
"Krystina's work strikes me as an infinitely patient meditation - on translucency, texture, and compositional rhythm. The themes emerge gradually, through shrouding, in the subtlest of almost-monochrome shades. Even in such urban contexts, nothing ever seems abrupt or out of place - it all just flows into a much bigger point of view.”
Kate Mellersh, writer and editor, Witney, Oxfordshire, UK
"Krystina doesn't photograph particular things, she sees complete wholes. And because she sees complete wholes so well, she can break down the articulating limits, tear off the skin of things, until the work becomes more musical passage than merely an interesting document of objects. She records instability, not of muscled action, but of exposed vulnerability, of the preciously hidden. Without shame, without defiance, but with mature confidence.
I'm not a photographer, but I look at a lot of photography. Even in active shots with dynamic compositions there is a certain "trapped definition" that I don't see here. I don't sense that this is a camera. I sense it is more of a living and resonating window. Whereas most photographers focus on the shape of things, her works reveal something of their center.”
Lee Kaloidis, artist, New Hope Arts Centre, Pennsylvania, USA.
“Krystina has a special talent for balancing a complex space, for seeing layers, for turning urban sites and rough materials into elegant, often delicate always surprising tableaux.”
Jay Neuberger, Lecturer, Texas, USA
“How does she do it? It’s alchemy. She has the gift of originality in the way she sees things and that's special (or point me to the artist who's work she's imitating - if there is, I haven't seen it).”
Larry Wilkes, artist, Cambridgeshire, UK,
Claire Pajaszkowska, Senior Research Tutor at Royal College of Art, London.
"Krystina's work strikes me as an infinitely patient meditation - on translucency, texture, and compositional rhythm. The themes emerge gradually, through shrouding, in the subtlest of almost-monochrome shades. Even in such urban contexts, nothing ever seems abrupt or out of place - it all just flows into a much bigger point of view.”
Kate Mellersh, writer and editor, Witney, Oxfordshire, UK
"Krystina doesn't photograph particular things, she sees complete wholes. And because she sees complete wholes so well, she can break down the articulating limits, tear off the skin of things, until the work becomes more musical passage than merely an interesting document of objects. She records instability, not of muscled action, but of exposed vulnerability, of the preciously hidden. Without shame, without defiance, but with mature confidence.
I'm not a photographer, but I look at a lot of photography. Even in active shots with dynamic compositions there is a certain "trapped definition" that I don't see here. I don't sense that this is a camera. I sense it is more of a living and resonating window. Whereas most photographers focus on the shape of things, her works reveal something of their center.”
Lee Kaloidis, artist, New Hope Arts Centre, Pennsylvania, USA.
“Krystina has a special talent for balancing a complex space, for seeing layers, for turning urban sites and rough materials into elegant, often delicate always surprising tableaux.”
Jay Neuberger, Lecturer, Texas, USA
“How does she do it? It’s alchemy. She has the gift of originality in the way she sees things and that's special (or point me to the artist who's work she's imitating - if there is, I haven't seen it).”
Larry Wilkes, artist, Cambridgeshire, UK,