Work of Krystyna Ziach consists of autonomous conceptual photo works, photo sculptures (monumental spatial constructions or installations in which photos are incorporated) and video sculptures. From the start her work has mostly been a quest for the coherence between the arts of photography, painting, sculpture and video, this consistent with the disciplines she studied earlier. Krystyna Ziach works mainly in series with different themes and points of departures. Within the conceptual framework she gives free reing to her intuition and her emotion. Her work of recent years centers on human vulnerability and transience.
More information about the work of Krystyna Ziach you can find in different articles and press reviews on her other website www.krystynaziach.com
/.../For Krystyna Ziach photography is the medium through which she fuses the varied constituents of her work – painting, performance, concept and later also assembly and sculpture – to a new whole. Through photography she can join the heterogeneous parts and give the art work a new identity /.../.
Reinhold Misselbeck, 1994, curator for photography and new media at the Museum Ludwig, Cologne, Germany. Guest curator of the solo exhibition A Chamber of Mirrors / Krystyna Ziach at the Netherlands Photography Museum, Sittard, NL, 1994.
/.../ Krystyna Ziach has been trained as a sculptress and as a photographer. In her work she combines both disciplines, but she continues to approach reality as a sculptress. In the exhibition organised in the fall of 2014 by the Beelden aan Zee museum, the emphasis is on a series of works from the early nineties. These so-called photo sculptures are monumental spatial constructions or installations, in which photos of the human body, culture and nature are incorporated. It is in this very series of works that Krystyna Ziach’s dual background becomes visible and the two disciplines, photography and sculpture, merge. The photo sculptures have geometrical shapes - squares, triangles and circles - which Ziach combines with materials such as sand, salt, mirror, glass and iron. In this way she creates captivating conceptual works in which the sculptress / photographer plays with optical illusions and the symbolic. Krystyna Ziach lives in Amsterdam. Her photographs are included in various important collections of, among others: Centre Pompidou/Bibliothèque Kandinsky, the Biliothèque nationale de France, Museum Kunst Palast in Düsseldorf, Museum Ludwig in Cologne, and the Rijksmuseum Amsterdam /.../
Hans Rooseboom, 2014, curator of photography at the Rijksmuseum Amsterdam and guest curator of solo exhibition Space of Imagination in 2014-2015 at the Museum Beelden aan Zee, The Hague, NL.
/.../ Having received her education as a sculptress in the city of Cracow in her native Poland, Krystyna Ziach developed her body of work around the tensions between the plane of photography and its possibilities for 3D creation. Today she lives and works in Amsterdam. The seemingly retrospective exhibition which was devoted to her work by museum Beelden aan Zee in The Hague, is accompanied by a reference work, Space of Imagination. The exhibition was organized by Hans Rooseboom, curator for photography at the Rijksmuseum Amsterdam. The book opens with various works concerned with the relationship between body and sculpture, that allow us to revisit art history: the illusory play with geometric space of the painted nudes of the series Geometry of 1985. The following year the same techniques advance from studies that are still in black and white, to the corporal framing systems created by Francis Bacon. The transition to color then combines the body with metallic structures for the triptych The Splendid Decadence of Kabuki and in 1989 a painted body follows the spatial illusion of the mixed works of the series The Black Cross of Malevich. The imaginary museum becomes complete with a homage to Dürer which elaborates on the Chamber of Mirrors and with her Spaces of Imagination which we were allowed to admire at the Netherlands Photography Museum in 1994.
The second period of ‘photography as sculpture’ which begins in 1988 and continues to the present day, shows mixed works incorporated in monumental installations. We again find references to other cultures, such as in the triptych The Anatomy of the Big Buddha, or works that are more in line with the atmospheric in relation to the face and the skin, such as In the Mirror of Your Eyes (1992) or Sweat (1995). The sensuality of such pieces manifests itself in a very powerful work such as The Fountain of Time (2001). During the same period the artist produces video sculpture such as Blue Core, which offers an immersive space to the viewer. In her relation with Japan she continues her experiments with more traditionally presented photo works in Imperial Gardens (2003). She creates serial ensembles with the use of industrially manufactured miniature Buddha’s and gravestones, that allow her to approach the concept of Infinity(2003), or bales of paper prior to recycling which she constitutes into an Ephemeral Library (2013). In her relations with art history and with other, in particular eastern, civilisations, Krystyna Ziach develops, with an immense exactingness, a spiritual body of work with a great richness of plasticity" /.../
Translation: Hanny Keulers
"Krystyna Ziach’s Spaces of Sculptural Imagination", 2015, text by Christian Gattinoni, art critic based in Paris and the chief editor of the French site of art critics lacritique.org