For this year’s NADA New York, Galerie Noah Klink is proud to present a selection of works by Polish artist Kami Mierzvvinsk. Spanning from 2017 to 2024, the presentation includes paintings of various sizes, offering a glimpse into the progress of their artistic practice.
Mierzvvinsk’s work is defined by a deeply intuitive and physically performative approach where painting is a ritual in which the body becomes the tool. Through free yet conscious gestures, they create multi-layered compositions using oil, ink, and epoxy resin. Rooted in both Tantric and Western spiritualist traditions, their work explores the metaphysical potential of creation, merging spirituality and materiality through bodily movement.
Juxtaposed with more recent works of Mierzvvinsk, our presentation at NADA includes earlier small-scale paintings that capture the beginnings of their meditative and transcendental artistic approach to the multi-layered works incorporating epoxy resin. Traditionally associated with industrial aesthetics, epoxy resin has carried connotations of control, precision, and surface perfection. Mierzvvinsk’s layered, ambiguous and affective appropriation of the material overcomes this heritage. Instead of clarity, they invite introspection and turn the surface of the painting into a reflective membrane of intimate uncertainty; using resin to dissolve clarity as opposed to asserting it.
The ritualistic process results in objects of figurative indefiniteness, challenging viewers to interpret without relying on authorial intent and opening pathways for self-exploration. This approach also informs the titles. While early works titles like Rise (2017) and Soul (2019) remain abstract but evocative, they become increasingly opaque. From untitled works to titles such as LFBC(H) or wwgwfo, they reinforce Mierzvvinsk’s preference for systems and dispersed meaning, suggesting a personal, associative logic that eludes fixedness.
In their more recent paintings, where the dominating colors of blue and red find their way into the artists œuvre, Mierzvvinsk’s matured technique is manifested into a body of work that allows an access to deeper states of consciousness. The works bypass retinal certainty, inviting a way of seeing that lingers at the edge of language, evoking and destabilizing our need for form. As art critic Johanna Siegler puts it: “We see, but cannot quite name it. We remember, but without reference. Must what is seen always be known? Must what is known always be legible?”
