DAGMARA GENDA

Wall works and installation
Works on paper
Art in public space
Writing
Bio

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mail@dagmaragenda.com

Everything That's Lost (2018)

All the snow was cut out of a book on the arctic and then exhibited pinned to walls. The shapes were also recorded, vectorized, organized smallest to largest, and laser cut from white pages. The pages were bound into a new book weighing approximately 100kg. The pages are flipped ceremoniously depending on how long the exhibition runs. By the end of the exhibition, the book is flipped through until the end.

Bush (2018)

A Common Laurel in London's Regent Park was photographed over the course of the spring months under varying weather conditions. The result was a wide variance of green captured in a plant whose colour was actually consistent. The photographs of leaves were used as a palette with which to make geometric shapes that speak to the history of painting, the picturesque, as well as private and public space. The Common Laurel is traditionally pruned into walls used to divide property.

Wall Tracing, Arp Museum (2017)

This tracing was done over the wall where the curatorial didactic is usually placed. From years of adhering and removing vinyl lettering, there is a distinct pattern of damage left on the wall. Angular scrapes can be found on the left and right hand sides, while the middle is so liberally painted that the remnants of latex seem to stream down like waterfalls. These elements were carefully traced out of the paint and form a visual didactic for "Was sich abzeichnet," a group exhibition about drawing.

Unfolded Niche (2017)

An in-situ studio drawing completed in a niche that was presumably once a door, was photographed, stitched together and printed on aluminum. Rather than exhibit documentation of the site-specific work, a new work was made that creates an impossible space meant to be inserted into different settings. Like the strange functionless niche in my studio, the large-scale print works on an architectural scale.

Raufaser (2016)

This was an in situ studio wall drawing completed during a 9-month residency at the K├╝nstlerhaus Schloss Balmoral in Bad Ems, Germany. I noticed the ubiquity of Raufasertapete (literally translated as "rough grain wallpaper") which forms the background of many German households, including my bedroom and atelier. Using brush and ink, I traced out the grain of the wallpaper as well as the years of paint applied to it. I used a niche in my studio as the boundary for the drawing.

The sun's rays... (2016)

The sun's rays, as they passed through my studio skylight from early August to late-September, when they stopped reaching my walls at all is a site-specific studio wall drawing done during my residency at the K├╝nstlerhaus Schloss Balmoral in Bad Ems, Germany.

cutting out the snow (2015)

Over the course of a year, I cut out all the images of snow from a picture book on the arctic. In this particular work the cut-outs are simply pinned inside vitrines like preserved butterflies or scientific specimens.

Beating the Bush (2015)

A Common Laurel in London's Regent Park was photographed over the course of the spring months under varying weather conditions. The result was a wide variance of green captured in a plant whose colour was actually consistent. The photographs of leaves were used as a palette with which to make geometric shapes that speak to the history of painting, the picturesque, as well as private and public space. The Common Laurel is traditionally pruned into walls used to divide property.

Panorama (2012)

This 25' long collage presents a Hieronymous Bosch-like view of the Canadian landscape. Using cliche depictions of the wilderness, the immersive space does not permit itself to be seen in one glance. Perspective is always at close range forcing one to focus on details.

Collapsed Building (2012)

This adhesive vinyl piece is a version of the apartment block I lived in as a small child in Poland. The design is based on a photograph and has undergone a complex, layered process of tracing and retracing to render it limp.

Limp Landscape (2010)

Over 60 years of landscape paintings from the Mendel Art Gallery's (Saskatoon, Canada) permanent collection were traced and rendered into one massive abstracted landscape. Limp Landscape continues my interest in regional practices, tradition and how these histories surface in contemporary art.

Screamers and Bangers : the wallpaper project (2008)

Using a technique of tracing, the paintings of Tom Thomson and the Group of Seven were abstracted into bright red, adhesive vinyl. Combined with images of animals either fucking or fighting, the work is intended as an irreverant homage to the manufacturing of art history, regionalism and tradition.

Jack Pine (2008)

Tom Thomson's iconic work Jack Pine was reproduced using screen-printed wallpaper whose repeated pattern consisted of Canadian animals having sex.

-This Fall's Border Crossings issue contains both a review written by me, on Karla Black at Capitain Petzel earlier this year, and a review about me, or rather my show at aceartinc. this past winter. Currently articles are only available in print.