Collection

In Postproduction, the artist works with coal, but using digital retouching tools rather than a pickaxe. Stamps and correctors from graphics programs are typically used to smooth, slim and brighten, without leaving traces. Artists working in the field of post-photography have adopted these tools for artistic purposes, revealing their invasive intrusion in the image. Witek Orski combines this strategy with the lenticular printing technology, creating an illusion of animated motion to capture the moment when the image disintegrates. There is no finished image, only an endless loop of postproduction.

Orski often treats concepts from the field of visual culture as metaphors for narrating other phenomena. Coal, a symbol of the industrial age, provides him a point of departure for reflection on contemporary economic models. Can the phenomenon of looping reproduction and postproduction of images be compared to the functional mechanisms of the post-industrial economy? Orski employs the medium of photography to pose questions without framing definitive answers.

Visual artist, theoretician of photography. A philosophy graduate of the University of Warsaw, he creates photos, photographic installations, and video works. He refers to his practice as post-conceptual photography. He studies the relations between images, and is interested in the social functions of photography and its status in the field of art. The medium of the exhibition itself is also an essential tool for Orski. He arranges series of works into visual essays in which the reception of each item is meticulously designed. In 2010–2012 he was involved in the Czułość Gallery. He is a doctoral student in the Intermedia Department at the University of the Arts Poznań and a lecturer at the Szczecin Art Academy. He lives and works in Warsaw.