Eleousa

The discrepancy between the joy, tenderness and inevitability of tragedy makes this type of icon a special object of contemplation.

I am not going to deconstruct established rules, canons; for instance picture of icon. I am looking for a „crack” between the above mentioned rule and the need for questioning it. I am aiming at finding this particular situation in which the picture through the tensions and conflict functions beyond itself, has its „hidden area”. It becomes something subtle seen from behind the camera, the vision found again and again, every time together with the changing recipient. Deliberately I intend to step into the intimate sphere, a „private crack”, physically close to the notion of the „wound”.

Searching (in photographic medium) for the subtleness involves the fight with literacy, as well as with the reconciliation with the different function of time. Photography, from its nature, certifies that something has happened. However, by the reference to the icon, I emphasize the connection with the past. I try to step into the history of mine and the history of the audience by using the attributes connected with the childhood. The slight contact with “here and now” has become surprising for me. In my opinion “the touch – the contact” can only be realized by the “wound”. Being in the present time (passing over the physicality of the photography picture),takes place at the moment of reading the picture.

The project includes a very important idea: “the absence”, a naked woman doesn’t hold in her arms the one who demonstrates tenderness and mercy. “The absence” is revealed by the attributes, mutual links between them. The attributes – “infantile objects” – have become tools of internal repression. Yet, there is no war, the conflict is played in silence.

Silence and freedom of finding “ the private stigma” was my way and my quest.

Anita Lipiec


“ E l e o u s a ” „The child grants its Mother a soothing gesture of cherish [...]. Mother was overcome by the shadow of future suffering” Paul Evdokimov, „The Art of Icon. Theology of Beauty” The discrepancy between the joy, tenderness and inevitability of tragedy makes this type of icon a special object of contemplation. I am not going to deconstruct established rules, canons; for instance picture of icon. I am looking for a „crack” between the above mentioned rule and the need for questioning it. I am aiming at finding this particular situation in which the picture through the tensions and conflict functions beyond itself, has its „hidden area”. It becomes something subtle seen from behind the camera, the vision found again and again, every time together with the changing recipient. Deliberately I intend to step into the intimate sphere, a „private crack”, physically close to the notion of the „wound”. Searching (in photographic medium) for the subtleness involves the fight with literacy, as well as with the reconciliation with the different function of time. Photography, from its nature, certifies that something has happened. However, by the reference to the icon, I emphasize the connection with the past. I try to step into the history of mine and the history of the audience by using the attributes connected with the childhood. The slight contact with “here and now” has become surprising for me. In my opinion “the touch – the contact” can only be realized by the “wound”. Being in the present time (passing over the physicality of the photography picture),takes place at the moment of reading the picture. The project includes a very important idea: “the absence”, a naked woman doesn’t hold in her arms the one who demonstrates tenderness and mercy. “The absence” is revealed by the attributes, mutual links between them. The attributes – “infantile objects” – have become tools of internal repression. Yet, there is no war, the conflict is played in silence. Silence and freedom of finding “ the private stigma” was my way and my quest. Anita Lipiec