I think it’s Jola Rutowicz’s head and I took the body from a photoblog, Jasia explains and continues: Where does Kea take her things from? Probably from her head. I don’t have a head. We are drinking a Coke Zero and a Dr.Pepper Zero on a bench at Aleja Wyzwolenia. We clink our cans together. Headless Jasia starts talking about the fog coming down from her brain – a sign of a new mode of disorganization or at least of a progressing maturity.
For a while now, Kea is a talking and smiling head. We met on a video call. Her works are tiny. She draws lying down on her belly on the floor with her face centimeters away from the paper. Her sessions take hours. The eyes stretch and bend, and become so tired she can barely see. Jasia makes her works on the screen of her phone, swiping her fingers, blurring, copying & pasting. Notably, both artists wear glasses.
Inner Corner Smell City Day could be the writing on the back of a TK Maxx candle. Hello, it’s the commodity speaking about the dust settling on the pavement after a cold winter. The words in the title suggest nonsense or randomness. The exhibition combines works about the cartoonish and grotesque.
Kea covers the paper with twisted and detailed bodily constructions to seemingly no end. Some forms develop with illustratory precision while others regress into sketches. The corporeal is sexual, humorous, and gargantuan. Jasia collects the material from the outskirts of the www. Forgotten memories and pop cultural artefacts become indiscernible. Layers of low-res images are indivisible, saturated, and the whole space is messed up. The body is transformed, as the artists fuse it with its surroundings into stuttered pictures. This is not only the first exhibition held in Rififi, but also Kea’s and Jasia’s first joint exhibition. The artists are, above all, friends – which is reason enough to put on a show together.