“The images are sharp. Absolutely sharp, with formidable precision. These are simple images. Photographs that focus on an object. Only one, centered, designated. An object that photography installs in a space, its space, permanent and uncomfortable. No approximation, no effect, no gloss. Flattening and remote things. The setting up of the elements. Pieces of a puzzle that remains to be assembled. To be put together. To be reconstructed.”

__Christian Caujolle, excerpt

Marta Zgierska

conceptual photography



Exhibitions views

Selection of artworks.

_recently documented on our website

Main series

Marta Zgierska, Untitled (Post Series) 2014

Marta Zgierska, Post

«My first photographs were like an incantation to fear…», thus describes Marta Zgierska the the infinitely silent ans slow process bringing her back to life, after the accident and her broken body. A life after, a life “post”, where the extreme attention to her own vulnerability is the only means to escape. We all know we are mortal, of course, but feeling it is another thing. Marta Zgierska will invent a language of survival through refinement, concentration and allegory. In her images, meditation upon death and the mad but clinical desire to come unstitched go side by side and one would remain voiceless and like petrified as so much grace and abstraction may constantly miss narrowly the abyss.

Diane Dufour was, at the time of this text, the director of BAL – an institution for emerging photography in Paris.

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Marta Zgierska, Drift

Marta Zgierska, Drift

“Zgierska’s confrontation with memory doesn’t off􏰂er catharsis, but sugg􏰆ests instead a maze without centre, growing ecentrically around an event that subsequently disappears, leaving only the outline of a lost, unforgettable trauma.” __ Darren Campion

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Marta Zgierska, Afterbeauty VI

Marta Zgierska, Afterbeauty

The series of photographs depicts various beauty cosmetic masks. Captured in a photographic studio immediately after their use, they get the appearance of abstract sculptures or spatters of paint on canvases, all in delicate and sweet tones of color evoking the decor of a girlie’s room. Nonetheless, this palette of friendly colors is broke by a disturbing form, causing associations with the autonomous structures, snatched from the body within sterile, medical conditions.

__Zofia Krawiec

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Marta Zgierska, Votive Figure II

Marta Zgierska, Votive Figure

The series “Votive Figure” refers to votive offerings. The ex-votos (thanksgiving plaques) are set by believers to ask for protection or healing, most of the times addressed to Virgin Mary. These offerings sometimes materialize as a figure in anatomic wax. Their origin is nonetheless prior to Christian tradition. For instance, a votive hand been discovered on a archaeological site in Syria. In any case, the offering often involves a form of forfeiture or a sacrifice to the offerer. Marta Zgierska covers herself in wax and dedicates parts of her body to a new cult: beauty.
__ Le chat perché, 2019

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Marta Zgierska, exhibition view

The Artificial Reality Of The Rough Within Beauty Sublimation
– by Cristina Albertini Bahnarel

To the images of the fragments of body covered by wax add now real indoor scenes about which we would not know to say if they are glimpses of a boudoir, beauty salons, simple workshop views or what else… It could be about a fiction narrative, some kind of dystopia, or the psychedelic expression of the genre of Twin Peaks. A narrative of that personal story of the cult of the image… With these images, Marta awakes this phrase that Louise Bourgeois (…)

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Marta Zgierska, Untitled (Post Series) 2014

Photography As A Mask Of Reality
– by Bruno Dubreuil

So here we are in the world of trompe l’oeil, of this illusion that aims at the perfect repetition of reality.
This is a genre well identified and codified in the history of art, the meaning of which has evolved over the years: first memic virtuosity, then subtle play with reality.

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Marta Zgierska, vue d'exposition (Afterbeauty)

What Is Left Afterbeauty?
– by Zofia Krawiec

The series by Zgierska depicts an unusual, intimate self-portrait. Each sheet features the artist’s face imprinted on it moments earlier. However, traces of her image remain concealed, blurred and obliterated in the photographed forms. The concept of “taking off the mask” is a cultural archetype.

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