Katarzyna Przezwańska’s architectural interventions are like a fight against the aesthetic hypocrisy that ignores the peasant, savage, farmhand, and child, and excludes tribal antiques, rustic folklore, colorful modernism, and contemporary attempts to add foliage into urban spaces.
The artist collects color samples and organizes them. She attempts to find a rational allocation for these colors that are usually used intuitively by amateurs.
The Art Nouveau sculptures on the facades of buildings in Zielona Góra received makeup that is worthy of Greek sculptures, but also the sculpture of Mary Magdalene found in Golgotha in Lichen Sanctuary reminiscent of singer Violetta Villas. The fluorescent-green pool placed on a balcony in Beirut was like a piece of refreshing hard mint candy in the sunburned, chaotic city. The colors used in the connecting walkway between the Emilia furniture store annex and the temporary seat of the Museum of Modern Art on Pańska Street in Warsaw, although borrowed from Le Corbusier, appear in her own apartment in Warsaw’s Bielany neighborhood, which was transformed into a colorful Gesamtkunstwerk, these are the colors on the apartment blocks visible from her window. Color-coding has been used to organize the functions and symbols of everyday life. The kitchen has a water zone and fire zone, and its window is covered with a yellow film that filters daylight, giving it a sunny color. The splays of the neighboring window are painted silver and reflect light. In the bedroom, color is assigned to designate the day area and night area, and a dark circle on the ceiling in the living room marks the center of the home. An obsessive organization of life (hanging in the bathroom is a piece of paper with a playlist featuring the length of individual songs and music pieces that fit into the rhythm of a morning bathroom routine) would indicate that we are dealing with a neomodernist. However, this is more like a tricky post-neomodernism, in which rationalism reaches an irrational dimension, as evidenced by her experiments with coloring nature. The dead branch painted in accordance with the biological hierarchy of shoot growth or the living plant with subtly painted veins.
