Margaret-Inga_Wiatrowski_RemindersRemainders01_in-Progress.jpg

Working across drawing, photography, installation and sculpture, my work explores the delicacy of existence, consequence, impermanence, and entropy– and examines the tendency of all things to dissipate, in a constant move towards increasing complexity and disorder. 

Using the scarred remains of places that have been left behind, broken, or appear to be perpetually disappearing as a point of visual departure, I look for physical and psychological spaces of ambiguity and fluctuating precariousness in particularly diaphanous environments, to reveal moments that express an underlying sense of loss and uncertainty. 

I’m interested in spaces that are in a constant state of unraveling, in precious objects that fade quickly, and in substances that move through landscapes on the constant verge of extinction. I try to salvage the aftermath details from these moments and spaces, always rendering these smallest of particles in my images in an effort to consider a parallel story. In my work, dust especially, is closely linked to the idea of entropy– it represents all the energy and essence of past ages, possessing a ghostly quality–containing in it all the memories of time, place and experience in its microscopic composition–particles that tell the story of everything that ever existed. 

I am especially drawn to those traces of existence that are both precious and spoiled; simultaneously full of possibility and nothingness, and to the contradictions and dualities that result from moments of irreversible transformation. My work is steeped in expressing these disparities–exhibiting both preservation and obliteration, chaos and fragility, past and future– suggesting both the what-was and what-may-have-been.

With a strong attachment to anachronistic rendering techniques, my drawings are rendered with hand-mixed lamp black ink using traditional calligraphy tools. Always dependent on paper as the primary material used to articulate these ideas, the drawings are also subsequently painted onto walls as murals, often in places that are transitory themselves, or where the mural’s existence itself will be short-lived; or they are engraved onto glass and transparent materials as sculptures, installations, or constructed as photographs, making use of the contrast between the frailty associated with both these mediums and their stark, tumultuous scenarios.