Budny’s works often seem to be created from nothing. They emerge unexpectedly, abruptly. Their weightless materiality defies expectation; they resemble flashes of thought, the briefest impression of matter. The starting point for many of Budny’s works and projects is often an idea or a word, which the artist then interprets into a physical or spatial equivalent. The artist’s approach to materials — to things such as paper, old cardboard, plastic wrap, paint, found objects, fragments of his earlier works, water, honey or…dance — is wholly unorthodox. His “soft” minimalism is formally rigorous yet is still capable of captivating the viewer with the intense nature of materials that appear, on the surface, to be elementary. Much of Budny’s work refers to human presence, and his site-specific installations prompt us to consider the architectural structures that surround us. Budny has never worked in a studio, which can be considered part of his anti-academic workshop. Despite this, he references the tradition of modern art, including painting, and focuses on the formal analysis of shape, appearance and light. The artist creates travesties and imitations in the form of paintings and sculptures that address the question of obsolescence in the conventional gallery or museum space. His compositions take on an almost provocatively transitory form, ready to disappear as easily as they emerge.


Grzeszykowska’s Clock is a 12-hour long video in which the artist performs choreographed dance compositions. The video is shown in sync with hours of the day - the artist’s image is multiplied number of times to correspond with the time of day. With each new hour, new composition unfolds with another copy of the artist added to the scene.

Wspólna 63, Warszawa