Ewa Doroszenko (b. 1983) is a visual artist, working with photography and multimedia installations. With a Doctor of Arts in Fine Arts, she graduated from the Nicolaus Copernicus University in Torun, Poland. She is a recipient of many scholarships and beneficiary of residency programs: Atelierhaus Salzamt in Linz (Austria 2016), The Island-resignified in Lefkada (Greece 2015), Kunstnarhuset Messen in Ålvik (Norway 2015), Foundation AAVC Hangar in Barcelona (Spain 2014), Fondazione Del Bianco in Florence (Italy 2006). She was nominated to STRABAG ArtAward International in Vienna (2014) and 7th INCUBARTE International Art Festival in Valencia (2015). Her projects were presented during arts festivals: Transmission Arts Festival Athens 2016, FILE 2015 Electronic Language International Festival in Sao Paulo, Biennale of Digital & Internet Art nfcdab in Wroclaw, ISEA - 21st International Symposium on Electronic Art in Vancouver, 9th IN OUT Festival in Gdansk, GENERATE! Festival for Electronic Arts in Tübingen Amongst others, she exhibited at Kasia Michalski Gallery in Warsaw, Centre of Contemporary Art in Torun, FAIT Gallery in Brno. She lives and works in Warsaw.
The Promise of Sublime Words: The project I started whilst the course of doctoral studies, when I was preparing to the final exam in art history. During my research about the ancient statues I discovered many old books with popular sculptures from Antique to Classicism. To spice the process of spaced repetition, I began preparing photographs connected with discussed topics. I photographed museum interiors, exhibitions and gadget stores; also delved into archival materials. I tried to confront myself with photographic reproductions of varying quality and scale. My aim was to show my favorite statues as objects, which arouse ambiguous associations. I tried to distort the usual view of sculptures and finally destabilize a natural sense of order. My technique involved the free manipulation of images. I created new equivalences and relationships - the internal juxtapositions are far detached from the original context of images. The resulting series of images is about perception of photography as a medium and about present status of the museum audiovisual archives. On the one hand the cycle draws on my private fascinations; on the other, it is a reflection on the usage of photographic material in post-internet times.
