Izabela Jastrzebska, Scarlet House
Moje wyobrażenie domu było czerwone, ale jestem przekonana, że czerwień wtedy wybrała mnie, ponieważ w domu nie było nic co mogłoby mnie nią zainspirować, nie mam zapisanego w pamięci tego koloru, z wyjątkiem właśnie wyśnionego domu. Mieszkałam w blokowisku gdzie byłam trzymałam się z daleka od wszelkich zabobonów (nie wiedziałam nawet o istnieniu jakichkolwiek z nich), które mogłyby mieć wpływ na moją podświadomość.
Londyn, gdzie powstawał pomysł do tego projektu kiedyś był uważany za czerwone, krwiste miasto pod wieloma względami, a przede wszystkim dlatego, że budowany był z czerwonego klinkieru (tak jak inne miasta Anglii),ale w czasach wznoszenia budynków cegła w połączeniu z wodą dawała ulicom i rzekom czerwony kolor…
My mental image associated with home has always been red, but I am convinced that the colour red somehow chose me because there was nothing at home that could inspire me. Red does not tint my memory, except for this dreamed house. I used to live in a block of flats where I was sheltered away from all superstitions (I didn't even know about any of them) that could affect my subconscious.
London, where the idea for this project was created, was once considered a red, bloody city in many respects, and above all because it was built of red clinker (like other cities in England). In times of erecting buildings, brick combined with water gave streets and rivers red color.
Izabela Jastrzębska was born in 1987 in Poland. She graduated from photography (BA) at the University of Arts in Poznan, Poland and has an engineering degree (BEng) from the University of Life Sciences in Poznan, Poland. Iza works mainly with the medium of photography but is in love with the smell of paper. Her interest lies between the concepts of posthumanism, surrealism and utopian ideas. Incidentally, she translates all her thoughts and artworks onto the ideas of death, disappearance, time, memories, dreams and imperfections of human nature. Currently, she lives and creates in Luton and London and runs the 97 1620 Gallery in her own private apartment in Luton.
ABOUT THE PROJECT
NOTE FROM CURATOR
“When I started working on the project, I didn’t realise how much of a negative impact it would have on my mental health. I haven’t realised how heavy and powerful this colour is. I was a different person then, but during the process my mood dropped significantly. I had headaches more often, everything around irritated me a lot more and I slept a lot during the day. I started to hate this colour, and I couldn’t wait when it’s all over. This was a difficult experience to my body and my well-being. During the first month of creation of the red room I didn’t leave my flat at all. I wanted to associate only with my red installation, I was trying to elicit as many memories as I could. I was looking for an answer, like you do. Why red? But there are so many possible answers. Have I watched an episode of Twin Peaks a night before this dream came to me? Have I maybe seen the red dress in the shop window? Or maybe I have cut my finger and I saw blood. One thing I know, is that we have no influence over colours. It is they, that influence us. I want you to feel uncomfortable, the way I felt when I inhabited the red room. I want you to feel crushed as I did and to understand that the colour red is a queen and you are the subject.”
The title that encompasses all the photographs produced during the course of this project was selected by Izabela during her first show in the UK, that took place in last autumn in the 97 1620 Art Gallery in Luton, but the single photos have no descriptive or ideological titles. I took the liberty of displaying the original 'draft' titles that the author assigned to each photo in the process of qualification to this and previous exhibitions and printing. I believe they constitute a beautiful, and evocative record of the ephemeral thought process of the artists, therefore, constitute a part of the project.