Ceramic Mushroom (2022) Painting by Martyna Benedyka

Oil on Linen Canvas, 15.8x11.8 in
$3,886.93
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  • Original Artwork (One Of A Kind) Painting, Oil on Linen Canvas
  • Dimensions Height 15.8in, Width 11.8in
  • Artwork's condition The artwork is in perfect condition
  • Framing This artwork is not framed
  • Categories Paintings under $5,000 Figurative Forest
From "The Sublime" Painting Series The concept of the sublime in philosophical aesthetics and art history is mainly understood as the quality of greatness. Edmund Burke, an Irish-born philosopher, claimed that the sublime is the most powerful experience. He also argued that sublimity and beauty were mutually exclusive. Burke[...]
From "The Sublime" Painting Series

The concept of the sublime in philosophical aesthetics and art history is mainly understood as the quality of greatness. Edmund Burke, an Irish-born philosopher, claimed that the sublime is the most powerful experience. He also argued that sublimity and beauty were mutually exclusive. Burke presented his theory that beautiful objects are small and delicate, while sublime ones are dark and terrifying.
Fascinated by this concept, I have chosen a series of different-sized paintings which touch on themes of monumentality as an aura of greatness, and little beauties in our lives that are inseparable from their fragility.

One of the sources of sublimity is infinity. Exploring the infinite, we experience a deeper, often unforgettable, sense of wonder. Here, the infinity is realized through cropped compositions, blackness, repetition, and the potential to evoke a mixture of emotions and feelings in the viewer.

According to Burke, beauty brings relaxation and sublimity brings tension. The paradox of the sublime arises when we find peace in the things that overwhelm us. Both captivate us, despite the dangers. I decided to express the sublime and the infinite, referring to the sense and power of the image in the real world. Depriving it of details, a rather enigmatic selection of paintings evoke notions of the sublime as an aesthetic experience and a monumental vision that strikes the viewer with power and raises the boundless question of whether the sublime in art can coexist with beauty.

(2023)
Martyna Benedyka

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FigurativeBlueSkyGreenForest

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Martyna Benedyka (1991) is a visual and sound artist, painter, photographer, coloratura soprano, and teacher. Working in a wide range of media including painting, photography, collage, installation, video,[...]

Martyna Benedyka (1991) is a visual and sound artist, painter, photographer, coloratura soprano, and teacher. Working in a wide range of media including painting, photography, collage, installation, video, field recording, and sound art, she focuses on various concepts of existence, memory, and beauty.

She studied Art and Design at the Gray’s School of Art in Scotland, UK and graduated with a First Class BA with Honours Degree in Fine Art Painting in 2014, as well as Voice and Performance, Opera and Oratorio, Pedagogy, and Baroque Singing at the Jāzeps Vītols Latvian Academy of Music and George Enescu National University of Arts.
She has exhibited in the UK, Italy, Germany, Austria, Ireland, Denmark, Poland, Czechia, Romania, Estonia, South Korea, Switzerland, Australia, Canada and the USA.

Her work has been chosen by the Federation of British Artists for the Futures - UK’s largest annual survey of emerging contemporary figurative art at the Mall Galleries, London, among others. She is a member of Futures Photography, Amsterdam, The Netherlands (winner 2022). She specializes in early and classical music.

ARTIST STATEMENT

I often painted fragments of things because it seemed to make my statement as well as or better than the whole could.

G. O'Keeffe


To me, the fact that no two photographic prints are ever exactly the same is a perfect analogy of how I view painting. Photography has taught me that memory is fragile and uncertain and through my painted surfaces memories are recorded and transformed. Modest in scale and subject, my paintings become fleeting moments of distorted reality.

Examining ideas of existence and being, I look for the essence of a person through the essence of an object. The camera becomes a link between an intense description of the world of things and my own response to it. My works are fragments that act like poetic signs; I would like to encourage people to slow down and to see the poetry of everyday life. Through the process of cumulative observation some of my favourite motifs are endlessly copied while others, once pushed to the edge, simply vanish. The diversity of my work unites the idea of looking behind what is seen, which is my main concern.

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