Dominik Lejman has always used multilayered structures in his work to describe ephemeral moments and aspects of a reality whose main hero is the contemporary crowd: anonymous, transitional, nomadic, hypnotized,
isolated, and silent; performing nostalgia for proximity and directness,
participation and engagement, intimacy and presence. The artist’s display
of fresco-like surfaces of photographic wallpapers and cinematographic
materials deviously combine the processes of looking and seeing, thus
altering the conditions of the spectator. Lejman’s work aims at searching for
a new regime of seeing — a regime of control and surveillance that activates sensual and mental agencies on the way to smooth perspectival distance
and transparency and to structure visual organization.
In Video Murals — Social Surfaces, Lejman employs direct recordings
of crowds and urban gatherings he has filmed. This original footage is then
rendered into a purely abstract form by the artist through the creation of
ornamental crowd motifs that are projected on the wall. In Lejman’s words,
“the structure of the mass ornament is abstract, but is not mere abstraction.
The aesthetic pleasure provided by the statistical tapestries is a form of
information anesthesiology. It neutralizes the fact of being the product
of a shared destiny and organic life, the function of individual personalities with unique souls.”

Selected solo exhibitions: 2002: Capri, Berlin; Norrtalje Konsthall, Sweden; 2001: State Gallery of Art, Sopot; Baltic Gallery of Contemporary Art, Slupsk.
Selected group exhibitions: 2002: 4 Pokoje, Bunkier Sztuki, Krakow; Biennale Balticum 02, Rauman Taidemuseo; 2001: Re:location, OK Centrum für Gegenwartskunst, Linz, Austria; 2000: After the Wall, Museum Ludwig, Budapest/ National Galerie Hamburger Bahnhoff, Berlin; Scena 2000, Centre for Contemporary Art Zamek Ujazdowski, Warsaw; 1999: Public Relations, Laznia Centre of Contemporary Art, Gdansk; Spektrum, Ostdeutsche Galerie Museum, Regensburg; After the Wall, Moderna Museet, Stockholm.