In 1962, Picelj initiated a series of his self-published “Edition a” art booklets, having released a total of seven publications up until 1964. Each issue of “Edition a” featured the work of one artist —mostly of a colleague whose work he admired.
In 1962, Picelj initiated a series of his self-published “Edition a” art booklets, having released a total of seven publications up until 1964. Each issue of “Edition a” featured the work of one artist —mostly of a colleague whose work he admired.
2021
drawing on paper
42 x 59,4 cm
Starting bid: 1 000 zł
Katarzyna Wójcicka’s artistic interests lie at the intersection of labour, economics, and art. Her process is grounded in repetition, precision, and time-intensive craftsmanship.
The work presented at the exhibition is part of the Gravestones drawing series, which depicts abstracted, decontextualised forms—solid, enduring structures rendered on the fragile surface of paper. Wójcicka offers no definitive explanation of what these images represent. Are they indeed gravestones, remnants from a stonemason’s workshop, mystical monoliths, or fragments of a corporate lobby floor?
Katarzyna Wójcicka (b. 1992) is a visual artist primarily focused on drawing. She graduated from the Faculty of Graphic Arts at the Academy of Fine Arts in Kraków.
Her works have been exhibited at venues such as the Wrocław Contemporary Museum, BWA Wrocław, and BWA Ostrowiec Świętokrzyski. She is the recipient of the OmenaArt Foundation Scholarship (2024), the Creative Grant of the City of Kraków (2021), the Ministry of Culture and National Heritage Award for Best Fine Arts Diplomas (2024), and the Grand Prix of the Wrocław Drawing Triennale (2022).
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