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Roman Stańczak’s work is subject to strict internal restrictions and is essentially based on ready-made objects and limited to the idea of inversion. Depending on the form and material, objects are literally turned inside out – like a kettle or a bathtub – or stripped of their outer layer. However, in both cases, the sculptural action is carried out radically, so that the object undergoes an ultimate transformation: a chair becomes a sculpture of a chair, a cupboard becomes a sculpture of a cupboard, and so on. As Jan Verwoert writes in his essay on the artist: “…by virtue of being bare, you would assume, the sculptures [by Stańczak] should have something ‘reductive’ or ‘substractive’ about them. But they don’t. Even if the veneer is gone from the furniture pieces and the coating from the metal, it’s not as though they were missing anything. There is no minus before this equation. Instead, there is a plus. Nothing is taken away. Something is given”.
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Press Release
Roman Stańczak’s work is subject to strict internal restrictions and is essentially based on ready-made objects and limited to the idea of inversion. Depending on the form and material, objects are literally turned inside out – like a kettle or a bathtub – or stripped of their outer layer. However, in both cases, the sculptural action is carried out radically, so that the object undergoes an ultimate transformation: a chair becomes a sculpture of a chair, a cupboard becomes a sculpture of a cupboard, and so on. As Jan Verwoert writes in his essay on the artist: “…by virtue of being bare, you would assume, the sculptures [by Stańczak] should have something ‘reductive’ or ‘substractive’ about them. But they don’t. Even if the veneer is gone from the furniture pieces and the coating from the metal, it’s not as though they were missing anything. There is no minus before this equation. Instead, there is a plus. Nothing is taken away. Something is given”.
