Bronze Sculpture for Sale
Inside Tree (l'arbre à l’intérieur), 2020
Photography : silver print · 42.4 x 27.8 cm 16.7 x 10.9 inch · Ready to hang
€550
550 €
Shipping & delivery
Shipped from: France
Delivery to: Germany , € 49
Estimated delivery: One to two weeks
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About the artwork
Type
Photography : numbered and limited to 3 copies
1 copy available
Condition
Artwork sold in perfect condition, framed, ready to hang
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Signed artwork
Technique & Support
Dimensions ( cm • inch )
42.4 x 27.8 cm 16.7 x 10.9 inch Height x Width x Depth
Artwork dimensions including frame
45 x 30.4 cm 17.7 x 12 inch
Sold by
Art gallery
Credentials
Vetted seller since 2017 • Top Seller
Discount
This seller offers discount when you purchase multiple artworks.
Description
Mammalia: Inside Tree — printed in 2024, photographed in 2020.
“Every time, you have to start from the state in which you are… Often, in situations of discomfort, something surprising emerges; for example, if you have a cold, let your mucus flow."
— Maria and Jan Peszek, Nak*rwiam Zen
The title of the project is a play on words and associations that I myself created around the term “papalia," popularized by Ryszard Zawadowski, president of the association “Memory of John Paul II," to designate the memories, trinkets, and commemorative objects related to “the unforgettable Father of the Nation," whose value increased after his canonization.
This title also refers to the current political context in Poland, particularly under the PiS party (Law and Justice), closely linked to the Catholic Church, which has participated in debates and policies concerning the control of women's bodies. It highlights the blatant absence of the voice and the capacity for action of women in this context.
Furthermore, in English, “mammal" means “mammal," and all mammals produce and release milk through their mammary glands to feed their young.
“My Mamalia" is a project that constitutes a chronicle of the beginnings of my motherhood, which coincided with a particularly turbulent period, marked by the isolation related to the pandemic and the National Women's Strike in Poland, in reaction to a controversial decision by the Constitutional Tribunal.
Mamalia gathers texts dedicated to motherhood, its creations, its inspirations, and its frustrations.
The idea for this project was particularly born from my obsessive and innate need to archive myself, a practice I have actively maintained since 1989. This need can also stem from a collective knowledge of the systemic erasure of women, the culture of violence, and medical misogyny.
There is a deep need to express oneself, to give a voice, to address subjects usually “kept under the rug" or reduced to silence—a story that no one wanted to hear and which I feel is not only mine, but also that of many other women.
My experience of a traumatic childbirth as well as a long solitary stay in the obstetrics department in Krakow has shown me how true the expression “women suffer in silence" is.
Presentation
Marcelina is a UK based contemporary artist working with mixed media approaches to print, painting and drawing. She often draws inspirations from her Polish heritage, looking to religious iconography and folk tales, as well as childhood memories, the power of dreams, spirituality, sexuality, and the human condition. According to her Mum, Marcelina started drawing before she could properly speak. She has been featured in publications including Booooooom, Bomb, Art Maze, Create Magazine, Digital Arts, Vogue, Refinery29, The NY Times, Der Spiegel and Ballad Of Magazine. She exhibits work throughout the UK as well as internationally and was a featured artist of the 2017 edition of the London Illustration fair and led a The Big Draw sketch walk for Apple. Marcelina is also a founder of artbrand Mesh Studio.
Marcelina says ‘I like to play at the tense borders between lust and innocence; joy and sadness; fun and pain. My interest in juxtaposition comes from my origins and fascination with East European culture which was eloquently described by Grayson Perry as ‘nowhere else could such horrific grief be met with such fairly-tale romanticism’.
‘I tend to utilise nature as a metaphor for everyday feelings and headaches.
My recent work also dwells into themes of self acceptance, body positivity, representations of the female sexuality, gender, migration, and society. Although some of the subjects I take on are often quite dark I like to think that there is some humour and light in my finished artwork.’
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