Ramona Zoladek was born in 1987 in Otwock, Poland. She studied BA Fine Art at Cambridge School of Art where she graduated in 2014. She currently lives and works in Cambridge.
Ramona has exhibited in various places in England as well as Poland and Canada. She won the Elephant x Griffin Prize at Elephant West in 2018 which helped to support her studio work. Previously, in 2014 she was awarded the Supanee Gazeley Prize and The Woon Prize followed by a 12 month residency at Baltic 39 in Newcastle which also contributed to the development of her practice.
I often combine organic and construction materials that create fragile and unexpected outcomes. This leads to various processes including growth and decay or shrinking and expansion. The tension between matter causes my work to appear vulnerable and fragile. It affiliates to impermanency of life and makes allusion to personal and collective memory.
I am interested in the temporality of objects that I convey by changing the purpose or reusing materials. The short life span of objects is often emphasised in my work by the processes of making and deconstruction. This refers to a lack of durability caused by mass production and the economic times we live in.
My works refer to systems and chains within landscapes where failure and neglect is present. Perception of landscape as a mixture of social, political and cultural developments lets me expand to issues relating to all of us living in the contemporary world.
Screenshots - 'I Tube Flow'
In the video I examined an object which is new to my practice, aluminium duct tube, which I later used to build an installation. Ducts are conduits or passages used in heating, ventilation, as well as air conditioning to deliver and remove air. Flow reflects the mental state in which a person performing is fully immersed in a feeling of energised focus and enjoyment. Flow can also suggest the air flow or flow of form.
This pre installation act was playful, meditative, possibly describing the beginning of the relationships between the artist and object where freedom, fascination and exploration is in priority to getting definition and a desired outcome.
I bounced, stretched, bent and pressed the tube against my body which led to it changing in form, looking more organic and vulnerable.
Medium:Alluminum duct tube
Studio shot of installation in progress
Studio shots of duct tubes, spray painted clay and cardboard tubes
Studio shots of duct tubes and plaster remains from old works
I explored the relationship between materials including tubes and remains from old works which were destroyed and will be used to create something new in the future. I used organic and fragile clay and plants which were spray painted silver. By spray painting them silver I emphasise their oddness and mechanical structure. I tried to find their abilities and properties beyond their original purpose as they now belong to a different landscape.
Medium:Alluminium, cardboard, plaster, clay, plants, spray paint
'Flow' installation in progress
The installation consists of manipulated duct tubes. They are loosely suspended from the beams above. As the objects are light and hollow they are easily movable and transformable. These qualities let the objects have different lives and purposes.
They look mechanical with repetitive structure and colour, and at the same time have organic qualities to them. They suggest life within formal structures, systems and chains. Tubes imitate body poses or could relate to the bodily systems, digesting food or processing information. It could also relate to anxiety, stress, illness or bugs. It is up to the viewer to decide.
Medium:Alluminium duct tubes, duct tape
Size:180cm x 120cm
Front view of 'Thread'
Side view of 'Thread'
Close-up of 'Thread'
Changing the meaning of the material I created chains of corn puffs threaded through wire. Corn puffs are often used as a snack for children but they do not provide nutritious value. Going back to my memories from my childhood, being bored of corn puffs' plain flavour, I used to play with them instead of eat them. I have a memory where I tried and failed to create a larger structure out of them. Playing on this childhood memory of failure, I tried to revisit and rework my vision from a more technical perspective.