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Old carpets, seemingly obsolete infusers, or air vents: materials that register as overlooked, unassuming fragments of everyday environments form the basis of the sculptural practice of Cezary Poniatowski (b. 1987, Olsztyn, Poland). Cosy at GOODBANK marks the Warsaw-based artist’s first solo exhibition in Frankfurt am Main.
Carpets occupy a curious cultural category: omnipresent yet rarely acknowledged, they “tie the room together,” as immortalised in The Big Lebowski. Once installed, they are enlisted to soften domestic space, only to recede into the background as mute companions. As buffers between cold flooring and human skin, they absorb presence—muffling, filtering, collecting. Attuned to their economic and geopolitical resonance, Poniatowski repurposes carpets from the former Eastern Bloc, compressing them into sculptural masses and granting them corporeality through zip ties, screws, and silver-gleaming staples. The domestic and familiar tilt into the absurd, mutating into…
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Old carpets, seemingly obsolete infusers, or air vents: materials that register as overlooked, unassuming fragments of everyday environments form the basis of the sculptural practice of Cezary Poniatowski (b. 1987, Olsztyn, Poland). Cosy at GOODBANK marks the Warsaw-based artist’s first solo exhibition in Frankfurt am Main.
Carpets occupy a curious cultural category: omnipresent yet rarely acknowledged, they “tie the room together,” as immortalised in The Big Lebowski. Once installed, they are enlisted to soften domestic space, only to recede into the background as mute companions. As buffers between cold flooring and human skin, they absorb presence—muffling, filtering, collecting. Attuned to their economic and geopolitical resonance, Poniatowski repurposes carpets from the former Eastern Bloc, compressing them into sculptural masses and granting them corporeality through zip ties, screws, and silver-gleaming staples. The domestic and familiar tilt into the absurd, mutating into…
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