Order a hand made painting of Splendour of Myself V (Mother_Daughter_Partner)

The hieratic, frontal (presented above the knees) self-portrait of the artist in an ornamental dress, corresponds iconographically to both official portraits of Elizabeth I and images of Madonna. The artist is standing up straight, proudly, holding a sickle in her left hand, with her smaller self-portrait visible in three quarters beneath her right hand, where, with a roguish face, she is holding in her arms reduced figures of her mother Helena and long-term partner, Przemysław Kwiek. Her head is adorned with a crown made of photographs of stalks and a vertical form looking like an arrowhead or a metal finial of a banner shaft. Apart from the main photograph of Zofia Kulik’s face (taken by Przemysław’s sister, Urszula Kwiek), there are also fragments of photographs taken by the artist some time before: the mother’s photograph from 1993 and Kwiek’s from 2002. The artist’s dress looks as if it had some abstract pattern from a distance, but after a closer look, the complicated ornaments turn out to be photographs of dry thistle leaves and of a human figure. The latter is also present in another of Kulik’s important projects – The Archive of Gestures (1987–1991) constitutes about 700 photographs of male nudes (here: Zbigniew Libera, an artist presented in the collection of CoCA as well). On both sides of the artist’s face there are – on the left: photographs of a bird killed by the artist’s dog; on the right: a Latin cross formed with male nudes. Splendour of Myself V is a laborious (from the technical viewpoint), repeatedly exposed black and white photograph, made of 15 rectangular fields of photographic paper (5 vertically, 3 horizontally). The amount of time and labour sets the work apart from a photo-montage. The rule of manipulation governing the composition results in the fact that the same views are repeated several times, especially in the parts of a large ruff surrounding the neck and the bottom of the dress. The decorative and ornamental character of the work, underlining the strict discipline of the axial organisation of the whole, is characteristic of all of Kulik’s repeatedly exposed photographs which, together with the anachronic (in the times of Photoshop) technique, created a dialogue with the past, including the history of art. The whole work is therefore made with the help of the analogue method, and the minimal support of digital techniques remains a mystery of production. [A. Markowska]

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Artist Biography

The Collaborative Genesis and the Kwiekulik Era

Born in the historic city of Wrocław in 1947, Zofia Kulik emerged from a landscape deeply shaped by the complexities of post-war Poland. Her artistic journey began with formal training at the Academy of Fine Arts in Warsaw, where she honed her skills in sculpture. However, it was her profound collaboration with Przemysław Kwiek between 1971 and 1987 that would fundamentally redefine her creative trajectory. Operating under the shared moniker Kwiekulik, the duo forged an identity that challenged the traditional boundaries of authorship and artistic medium. Their practice was deeply rooted in the radical architectural theories of Oskar Hansen, particularly the notion of open form—a concept that invited participation and allowed for a fluid, evolving relationship between the artwork and its environment. Through performance, photography, and intricate installations, this period served as a laboratory for experimentation, where the lines between art, life, and political resistance were perpetually blurred.

A Singular Vision of Power and Identity

As Kulik transitioned into her individual practice, her work underwent a profound evolution, moving toward a more singular, yet equally potent, exploration of identity and authority. Her solo oeuvre is characterized by a masterful command over diverse media, ranging from large-scale sculptures to meticulously layered collages and photographic sequences. In these works, Kulik weaves a complex tapestry where political criticism meets a sharp feminist perspective. She utilizes the repetitive power of imagery to dissect the structures of power, examining how bodies—both male and female—are positioned within social and political hierarchies. Her use of photography is not merely documentary; it is an active tool for reconstruction, where layers of images create a sense of overwhelming density, mirroring the suffocating nature of totalitarianism or the intricate webs of societal control.

The Architecture of Memory and Resistance

The historical significance of Zofia Kulik lies in her ability to transform the physical into the ideological. Her installations often function as immersive environments that demand a visceral response from the viewer, forcing an encounter with the weight of history and the persistence of memory. By integrating objects, photography, and performance, she creates a visual language that is both monumental and deeply intimate. Her achievements are marked by a refusal to remain static; her art remains a living, breathing critique of the contemporary condition. Through her enduring legacy, Kulik continues to inspire a generation of artists to use the medium of sculpture and image as a site of profound social interrogation, ensuring that the dialogue between the individual and the state remains at the forefront of the artistic consciousness.

zofia kulik

1947 - , Poland

Quick Facts

Artistic Movement Or Style: Feminist and political art
Artists Who Influenced This Artist: ['Oskar Hansen']
Date Of Birth: 1947
Full Name: Zofia Kulik
Nationality: Polish
Place Of Birth: Wroclaw, Poland

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Splendour of Myself V (Mother_Daughter_Partner)

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Artist Biography

Hand Made Oil Reproduction

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W692G $12

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W940BG $15

W953PJ $8

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H36-GOLD $45

H36-SILVER $45

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