If art is full of traps, the works of Bogna Burska create a labyrinth that is both treacherous and tempting. An extrapolation of repudiated images and those that attract us becomes a vehicle for narratives about privacy
transferred into a world of visual violence. A misalliance of obsessive
decoration and detailed narration is enacted here. Individual dramas
become an everyday common experience; neglected beauty turns into a foregrounded horror; and the continuum of grotesque, horror, and disbelief is revealed by the numerous attempts at taming the images transmitted through the network of infoways and TV cables. This is the precious skill of an artist — building a bridge over the river of impossible solutions, giving justice to the tradition of painting’s craft, using the photographic document and directing her art towards the motives of social impossibility,
uncertainty, and “acquired helplessness.” In such a way, these deeply
intimate changes occur in the viewer, but also become potential turning points in our thinking about liasons between desire, repugnance, the desire for beauty, and affection. Fatalistic fluency dislodges reluctance, and the game that was initiated cannot be stopped. This is violent action, but
very fragile too, full of doubts, and thus painful and truthful.
— Sebastian Cichocki


Selected solo exhibitions: 2003: Szara, Cieszyn; 2002: CO2, Gliwice; Church of Mariawitów, Pogorzela; Polish Institute, Stockholm; Biala, Lublin.
Selected group exhibitions: 2003: Tenderness, NaUKMA, Kiev; 2002: Way of Life, Laznia, Gdansk; Polska, Teatre Academy, Warsaw; Look at me/novart.pl, Krakow; 2001: Leon Tarasewicz, BWA, Zielona Gora; 2000: Atelier 59 TPSP, Warsaw; LeonTarasewicz, Fundacja Pogranicze, Sejny.