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VODKA AND STEEL
Early works emerged at the intersection of medicine and art. On one hand, they stemmed from a fascination with steel — a material usually hidden within reinforcements or machinery, where it does not serve as a subject but functions subserviently in relation to its purpose. In the 1990s, many objects explored old machine parts and constructions; however, the intent of these works was to detach the material’s form from its original function.
This concept arose from reflections on transgression in medical and genetic contexts, which I encountered during medical studies. Medically, transgression is defined as “a hereditarily conditioned stronger development of a given trait in hybrids than in parental forms.” Thus, the objects created were not meant to be perceived as mere collages of old machine parts but were intended to gain a new function — both practical and aesthetic.
This gave rise to the concept of the lamp — combining the utilitarian function of light with the aesthetics of metal. The viewer no longer sees an old filter cover or a combine harvester feeder tooth, nor identifies the original function of the element. The objects continue to work (illuminate, provide light) but elevate their status by freeing themselves from their original subservience, e.g., reinforcing bars typically embedded in concrete.
Altogether, between 1993 and 2000, about 80 objects were created (90% currently in private collections). They were exhibited at the solo exhibition VODKA AND STEEL (showing 12 objects) at the Cotton Club in Gdańsk, at the ZPAP Gallery (Artefact exhibition), and at the doctors’ art exhibition on the occasion of the 50th anniversary of the Medical Academy in Gdańsk.
