(...)"Gold cage" series introduces a new colour accent into the familiar landscape of firm forms and symbols typical of Róża Kordos's paintings. It establishes another visual fetish, convergent in its concept with the elements that have so far constituted an ideological distinguishing mark of her works. It also derives its strength from simplicity and repetition. Schematic golden stripes divide the surface of the canvas, cutting it into oblong fragments. They can be thus seen as an ordering mechanism. Why, cages are an element of oppression - prison, to put it simply. However, the gold ones do not seem overwhelming in an obvious way. One can get used to them, even forget they are cages. We get do something in return - a sense of security at the price of limitation. A refuge separating us from the unsettling chaos of randomness. For the artist, the grid through which we observe the world in Róża Kordos's paintings poses questions about which side of the bars we are on: inside or outside the cage? Also, is it possible that the view from the two spots is the same?(...)
Paweł Jagiełło
(..) The paintings of Róża Kordos, in turn, gravitate more and more towards abstraction, revolving around schematic motifs with symbolic meaning, which functioned in her previous works mainly with reference to man. Now the human form features less in her works, replaced by structures, a golden cage for example, which can still be interpreted as a metaphor for a specific social situation, involving an individual within a system and indeed it is likely to be thus perceived by those familiar with the artist’s previous projects. On the other hand, the motif can easily function as an isolated abstract form subjected to various transformations. Róża Kordos’s paintings always bear a certain semantic charge linking them to reality, they are never suspended in a formalistic vacuum, so even with her purely geometric compositions one cannot escape socio-psychological connotations.(...)
Paweł Jagiełło
Paweł Jagiełło
(..) The paintings of Róża Kordos, in turn, gravitate more and more towards abstraction, revolving around schematic motifs with symbolic meaning, which functioned in her previous works mainly with reference to man. Now the human form features less in her works, replaced by structures, a golden cage for example, which can still be interpreted as a metaphor for a specific social situation, involving an individual within a system and indeed it is likely to be thus perceived by those familiar with the artist’s previous projects. On the other hand, the motif can easily function as an isolated abstract form subjected to various transformations. Róża Kordos’s paintings always bear a certain semantic charge linking them to reality, they are never suspended in a formalistic vacuum, so even with her purely geometric compositions one cannot escape socio-psychological connotations.(...)
Paweł Jagiełło