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I snatch various places for myself. A photo camera and a film camera are to me what a big bag and a suitcase are to a thief. I steal stories. I want to be this impossible thief, but without turning into a fox, Fatso, or Deviat in the process. I want to embrace the constant role-shifting, but without losing who I am along the way.

My creative autonomy is largely determined by unawareness. The metaphors I use are as cruel as they are naïve. I blend imprudence, atrocity-violence, instinct, luxury, the poor’s garbage, rashness, and immaturity. Painting-objects are particularly important; I treat them as a form of post-scenography for events which have already taken place. It is a discourse of madness and a tale of a person who has suffered partial amnesia and is slowly beginning to recall objects and places, but becomes oblivious of their meanings as the story unfolds. Stripped of memory, this person discovers new places and, by applying her own rules in them, builds micro-worlds. Hence, a tunnel under a railroad embankment may turn into a personal shrine.

Magdalena Kieszniewska, born in 1992 in Gdynia. She graduated from the Faculty of Art, Academy of Fine Arts in Katowice. Currently, She is continuing her education as a student of the third-cycle program in art.