These experiences occupy a central place in Aleks’s practice, whether the modernist architecture of Warsaw, where she grew up, the bodies of women in Poland, or more simply abstract remnants of childhood memories. Rather than faithful representations, it is mental images that shape her approach. The choice of medium becomes a pretext, a tool in the service of their reconstruction, or a way of blurring the boundaries
between representation and projection.
In La maison, l’hystérie sentimentale, painting overlays photographs taken inside models and printed on canvas, creating a constant tension
between observation and memory, reality and reconstruction. This dialogue is also present in the format of the works that make up Empire Dies From Within, where the rectilinearity of concrete and the depicted buildings contrasts with the micro format that recalls amulets kept close
to oneself.
Her work bears witness to the dysfunctional beauty and discreet fragility of the cities she observes and that obsess her. In contrast to the cold, optimized definitions of Le Corbusier’s modernist architecture, Aleks Czepinska proposes a rewriting in which the image of the city becomes
lived, felt, and imperfect. The choice of her materials, foam, oxidized steel, cardboard, homemade concrete, contributes to her practice of a precarious architecture, where the mental image always seems on the verge of collapse.
Written by Joris Degas
Exibitions
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