Beata Długosz

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Lives and works in Kraków, Poland. She is a member of the Association of Polish Art Photographers. She teaches photography at the Faculty of Art at the University KEN in Krakow. She obtained her PhD in Photography at the Film School in Łódź (PWSTiTV). In 2005 she was awarded a fellowship by the Mayor of the City of Krakow for her achievements in photography. Her works are part of the collection of Kraków’s Museum of Photography (MUFO) and the MOCAK Library collection. In 2014-15, she worked as the coordinator of the Main Program of the Krakow Photomonth Festival (MFK). Her work centres on phenomena such as the passing of time and the passage of time, resulting from both natural processes and human impact. The author's personal experience of the current reality shaped by politics, economics and ecology is important, through which she tells about the condition of the world and man. She works, mainly in traditional black-and-white photography techniques, makes experiments in camera-less photography, as well as site-speccific art installations.

Six Reasons for Shadow







































Images of Light I
photosensitive site-specific installation

This installation was a product of the analysis of UV light as an image-creating medium in the absence of natural light. It was inspired by darkroom photography experiments dealing with photosensitivity and performativity of the image, which resulted from the application of light onto photosensitive material.

This minimalist installation was an interpretation of the specific moment of the so-called “point zero”, which can be located on a timeline and identified as the “Bing Bang”. The event, which transpired around 13 billion years ago, took form of a violent flare-up in impenetrable darkness. This phenomenon, considered to be the beginning of the world, was accompanied by a huge emission of energy. As a consequence, merging molecules of matter, as well as forces exerted on them, initiated a plethora of highly complicated chemical, physical, and biological processes. The installation relied on a photochemical process generated by UV light. As a result of exposure to UV light waves, the walls in the underground Cellar Gallery revealed some hidden images in the form of geometric shapes – a circle, a rectangle, as well as images-words referring metaphorically to the beginning of the world.

Cellar Gallery, Krakow, Poland 2015

Participants: Beata Długosz, Stanisław Koba, Monika Nęcka, Adam Panasiewicz, Alicja Panasiewicz, Maria Wasilewska
Autor: o