ENG What matters is that the exhibition takes place in a home. A home is the natural environment for Jolanta Wołocznik’s sculptures. The artist has never denied this; in fact, she has occasionally mentioned how, while carving stone, she reflects on how easily her works adapt to any interior. The strategy of creating sculptures that are compatible with the architecture of an apartment naturally influences their scale and form—Wołocznik often synthesizes or even completely flattens parts of her pieces, clearly suggesting their fit with walls, furniture, or corners of a room. In this case, however, thinking about interiors has a dual significance: it is not limited solely to the optimal placement of the works, but also relates to their content. Each sculpture, in a more or less literal way, speaks of hidden, unexpressed emotions that every person carries within themselves. An example of a sculpture’s relationship with its location is Dywanik 1 (Rug 1). The work was shown in a location of particular significance to the Broniewskis—the bed of their beloved dog, Łepek. Long after Łepek’s death, as well as that of his owners, his bed remained untouched for years. Dywanik 1 is a curled-up figure, carved from marble and placed in the corner where Łepek used to lie, evoking the sense of absence that accompanied the former household members. Perhaps out of habit, perhaps simply due to human longing, the Broniewskis could not part with their pet’s bed, which today forms part of the museum’s scenography.

Excerpt from the exhibition text Four Walls Are Enough

27–30 November 2025, Broniewski Museum, Warsaw
Curator: Maciej Gąbka
Concept: Razem Pamoja Foundation, Mazi Projects