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archive prints on photopaper, dibond, plexiglas, 100x100 cm, 2009

Objects in photographed rooms are dislocated, the space is blown and fragmented. Making an effort is required to rearrange the image and put it back together into a whole. Imagined movements which we make in our minds reflect our knowledge of the world and result from our experience in perceiving images. The level of dislocation of objects in a photograph can vary, and still it becomes clear that gradually, with practice we gain great ability in rearranging images in our heads. Thus a photograph as a complete image will exist only in our minds, photographic reality will turn out to be virtual.

Sabina Czajkowska from the text »For and even against« image from the Against Seeing exhibition catalogue


An important section of Tomasz Dobiszewski's artistic penetration is focused around the problem of unavailability of the image (including photography and film). Invisible or hidden images in the artist's works can be perceived in a way in which the sense of sight plays a secondary role. Knowledge about artistic representation can be gained through hearing, movement, intuition or, as in the Movemental series (2009), based on experience and knowledge acquired in the course of many years of perception. On the one hand, Dobiszewski strives for a more complete and comprehensive message, on the other hand, as if maliciously or perhaps ironically, he deprives the viewer of the possibility of getting to know the essence of the analyzed problem. He is interested in situations in which the senses and acquired knowledge fail, when the viewer is not useful for comfortable perception habits. The photographs from the Movemental series were created based on the destruction of photographic documentation of contemporary and old interiors, e.g. a minimalist black and white apartment, a conference room, a luxurious hotel room or a folk cottage. Fragmented shapes (e.g. furniture) and space (limited by the walls of the room) are different than full forms of objects. Fragments of visible objects are cut out of their context and shifted - they create a new composition that is irrational in three-dimensional reality. Although the shapes are far from the real structure of the object, they are recognizable after a short analysis. The technique of Dobiszewski's work on the Movemental series reveals the dependence of the visual perception of a group of objects on their composition. This one, in turn, is usually similar, i.e. there are usually chairs next to the table, paintings usually hang on the walls, and the couch is on the floor. The way objects are arranged gives them an immanent meaning, and when this bond is broken, even though we observe a well-known fragment of "something", it becomes alien.

Krzysztof Siatka from the text Movemental from the Take me, nr 06/2010