London-based artist Ewa Wilczynski teases her new project

TWO years ago Glass had the pleasure of interviewing the then up-and-coming, ethereal, multi-disciplinary artist Ewa Wilczynski. Now fully having found her footing on the global arts scene, Glass catches up with her as she teases what’s in the works at her west London studio.

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Wilczynski is naturally enchanting – a showstopper, a head-turner, an uncompromising caricature of her art, which is, by default, a reciprocal embodiment of her. On the heels of Frieze NYC, she swooped in the spring into Manhattan’s Norwood Club – a private club sourcing its exclusive members from the arts, design and creative communities – in a red, Flamenco-like flare legged pantsuit, British flag imprinted platform heels, a Vivian Westwood “sex” collar, and a black leather bomber. (She’s been referred to as “the Marilyn Monroe of the art world,” and yet, there’s something about her rawness, her James Dean bad boy-ness, that belies her cascading profusion of pure and girlish femininity.)

image1 (2)Ewa Wilczynski

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Painting by Ewa Wilczynski

She debuts to Glass her under-wraps new project: driven by her proclamation of a social media creationist theory, these pieces defy the new normal she’s set for herself; far from life-size art pieces or living canvases, each piece of this object art series fits in the palm of your hand. Despite their size, they perform a satirical, pop-culture punch in the gut. She conceives of the so-called “social media creationist theory” by logically reducing our digital age, which is priming us for a “new era”, as the contemporary counterpart to the coming of the age of sin: Eve has bitten the forbidden fruit of the omniscient media, and her video vixens are paying the cost.

ewa3 Ewa Wilczynski modelling cape with painted design

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 Ewa Wilczynski in front of one of her paintings

Ewa’s joint intellectual preoccupations with social media and its inevitable characteristics (proliferating, transparent, accessible, and socially affecting) and, separately, with the Christian religion are beautifully entwined in this latest project. Both antithetical and crucial to her proclamations within this show are the adamancy with which she keeps it under wraps. Offline, unpublicized, and definitively apart from social media, the show will launch with its public opening. She’s keeping it entirely #IRL.

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Painting by Ewa Wilczynski

by Emily Rae Pellerin

Images courtesy Ewa Wilczynski