"And God Created an Aniamal"

digital photograph

146 cm x 182 cm, USA, 1996.




"Before Diana's Hunting"

digital photograph

146 cm x 222 cm, USA, 1996.




"Horses"

digital photograph

146 cm x 204 cm, USA, 1996.



I like photography's literalness, the fact that one can represent something exactly as it is. It seams that after a picture is taken there is no turning back. But there is still room for interpretation or manipulation.
My photomontages are more like figurative paintings or two-dimensional installations. I just use pixels instead of other materials. My method results in photographic hybrids. Instead of pushing a button based on a sudden surge of emotion, I metodically, with premeditation assemble elements from different sources. Though these images are generated artificailly, advanced technologies make them look natural. This is how I wanted them to look.
But there is a strong unnatural aspect about them: in mimicking reality - they render it artificial - they strip life out of its flow. By making it seem as if the possibilities are endless (everything is a matter of choice: the background, individual components, light and shadow, the mood the picture evokes), they prove the world can be changed - repaired or improved or the opposite - spoiled, distorted, warped. At least on the paper. Good will is all that is required. Making these photographs is a weird experience
I want to produce a new image: complicated in its brutality, purposely drastic. I want to do this in the calm of my studio, in a comfortable armchair, with no physical effort, without having to participate in extreme events. I want to do this quietly, with distance - like a child who slowly tears the legs off a fly.
The subject is not important: it can be an artificial war or crime, an artificial tragedy, an artificial birth in artificial pain, an artificial end of the world followed immediately by its artificial resurrection. A fake sunrise and sunset.
I feel safe. No accountability. I know that I can do practically everything, within the right of free speech and artistic immunity, that nothing can disturb me when I work. I do not owe loyalty to anyone. I am far away. I can produce a monster and leave it for people to admire or reject.

Jacek Malinowski, extract from a master's thesis, Rutgers University.


"The Entrance"

digital photograph

146 cm x 250 cm, USA, 1996.