Szymon Dorabialski

Installation view from 'Divine Debris', 2017, mixed media, photo: Kuba Dorabialski
Installation view from 'Divine Debris', 2017, mixed media, photo: Kuba Dorabialski

bio:

B. 1988. Lives and works in Sydney.Stemming from a background in film and poetry, Szymon’s recent research toward his Masters thesis entitled ‘Peering into the Crack of the Divine’, has led him to a more performance and installation based practice. Szymon Dorabialski holds a Bachelor of Visual Arts (Honors) and Masters of Fine Art from Sydney College of The Arts. Solo Exhibitions include ‘Divine Debris: Worshipping the Invisible, Demanding an Explanation’ at First Draft, ‘Furlustre: The Dead Shepherds Echo’ at Our Neon Foe, ‘Boże Drogi: My Dear Goødness’ at Interlude Gallery and ‘The Roughest Sketch of the Most Perfect Thing- Experiments in Romantics and Drunken Epiphanies’ at Scratch art Space. Selected group Exhibitions include- ‘New Contemporaries’, Curated by Liam Garstang. SCA Galleries, 2018,‘Nostradamus, A January Blessing’, curated Nannete Orly, Airspace, Sydney, 2018‘(Un)made’, curated by Upasana Papadopoulos and Tama Woodbury, George Patton Gallery. Melbourne.‘Interlude Take Over’, as part of Sydney Contemporary program. Kinokuniya Wedge Space, 2017‘Rheology’ Curated by Elyse Goldfinch. Gaffa Gallery, 2016

statement:

Szymon’s practice exists as a personal enquiry into transcendental states of consciousness and as an observation of how the ‘divine’ experience comes to manifest itself within the restricted scopes of human epistemologies. Stemming from interests in religion, paganism, shamanism, mysticism, metaphysics and psychedelics. Szymon’s performance and sculptural installations seek to take everyday objects, tools and refuse and ostensibly reconfigure them into symbols of ritual and worship. These forms are employed as investigatory tools that play with the liberties and/or restrictions of creating a pliable personal understanding of the divine; As opposed to exclusively adhering to inherited cultural structures for the depiction of the transcendental realm.

'Vlad Escapes', 2017, performance, photo: Nick Strike
'Vlad Escapes', 2017, performance, photo: Nick Strike