art by Magdalena Sudnik
A series of working sundials and grears, made to resemble the innards of a watch, stand as evidence that Time is not a fixed thing, but a relative expereince. The sundials show Time in three different locations, reminding us of the origins of time-keeping (the Earth travelling around the sun) and pointing to the idea that although we may experience Time as a certain number on a clockface, that number is different all over the world at the same Time! In creating this interactive sculpture, I was paying homage to the great Sun and the great Earth which make man's inventions possible.
2008-Current: End of Times (cont.)
In this body of work, I combine on myth, ancient energy practices, quantum physics, and the developing practice of neuro psychology, to investigate the relationship between the physical world of our senses and the ephemeral world of energy. The works are presented on canvas made to resemble animal skins and hung from drift wood pieces.
2015- The Minds I
Exploring the themes of pollution in its many manifestations, this ongoing series of work, is a critique of our times, and an investigation of our values and responsibilities. The pollution here refers to global as well as personal pollution i.e.. the pollution of our minds, bodies, and actions, as well as the pollution of Nature. Balancing the doom and gloom, humor and symbolism offer subtle expressions of hope, signaling all may not be lost.
Sacred Geometry is the study of patterns found in Nature. It has been exalted as evidence of Gods divine plan or denounced as quack science. Nonetheless, from the micro to the macro, every movement or growth in Nature conforms to a geometric pattern and every known atomic particle can be reduced to the five basic Platonic shapes as described by Sacred Geometry. In exploring these principles, I was interested in the relationship between an individual shape and its place in the pattern, or individuality vs. union. Dance and music became my theme upon which to explore this subject, as in both there is an individual (dancer) and there is unity (the dance). I did not approach these works with a preconceived plan, but rather let the background pattern, the Flower of Life, determine the energy of each painting.
The focus of this work was the absurdity of the Healthcare system in the US. Using found medical objects, such as a walker, a hazmat suitcase, magnifying lenses, and a medical transport case, I transformed each item by adding whimsical appendages, and creating a story about the items function thru brochures, flyers and "operating instructions". Each objects purpose was twisted into a disfunctional and mysterious role. In doing this I was hoping to elicit the same feelings of bewilderment that arise when dealing with the medical system.
The goal for this work is to evoke a different sense of reality. Working with plexiglass, arduino programming and leds, allows me to explore transparency, light and time in new and unexpected ways. Including new technologies and materials to the work, has opened a way for me to create the kind of art I have always wanted...art that you have to see and experience in person. (For videos of work please check instagram)
1998-2000-Off the Wall
2000- Healthcare is Dead
2007- Time is Now
In the series Off the Wall, I was exploring the idea of emotion in connection to materials that were incongruent with their function.How does it feel to be in a computer lab made out of cardboard? What emotional response is evoked when we are confronted with a boat hanging over a sandy desert? How do you feel when a climbing wall beckons your adventurous spirit only to find out its handholds are made of a material that would never support your weight? What does it make you feel to see cardboard watercoolers filled with paper or a zen garden made out of ziplock bags?
In pairing materials and subject matter that were incompatible, I was exploring the polarities that exist in Nature. From day/night, male/female, hot/cold etc, we live in a world of opposites. These opposing forces are nonetheless reconciled and harmonized, creating a fragile balance. What happens when the balance is intentionally upset? How do we handle the discomfort and uncertainty that arise when things are not in harmony?
By delibrately creating objects that resist our sense of rationality and order, can we safely explore the feelings of discomfort created by such incongruency? Can the exploration of such feelings lower our resistance to that which we deem unsuitable in our own lives, therefore creating harmony?