Landscape in photography is this kind of a topic that sparks a lot of inspiration. Primarily due to the constant human need of documenting the world that surrounds us. Secondarily it’s a consequence of historical relationships between the medium and painting.
Until the 70s of the 20th century, this relation belonged to these rough ones in art: full of mutual animosities and reproaches but at the same time full of attempts of creating new solutions for collective heritage.
Landscapes that artist creates using camera enthrall with minimalism and painterly gesture by means of which colorful stains are laid. In these works, soft snow with a surprising texture serves Dzienis for canvas. It fills frames almost completely.
Titular “Pureview” for the artist is among the others, a skillful juxtaposing of snowy landscapes and photographs where mountain peaks are more distinct. Thereby the whole series combines elements of abstraction and classical landscape. Introducing this kind of balance and white surface contamination in some images makes it hard for the viewer to recognize what types of landscapes he is dealing with.
Dzienis’s interference in a naturally emerging landscape through adding colorants connotes in a broad sense with Land Art heritage of which main material was a natural space and it’s installations could often times exist only thanks to photography. The very painterly gesture used by Pszemek Dzienis creates the definition of photography as an art of painting with light anew. The definition that was mostly preached by one of its pioneers—Talbot. However the most important here is a collision of the color with the landscape. A new element in Dzienis’s works next to his interest in landscape and working outside of the studio is spatiality of his creations. As a result, some of the flat photographs hanging on gallery walls start to take the form of three-dimensional objects.