"Gdyby były flamastry, które po miesiącu blakną
 i pokazują się po jakimś czasie"
"If there would be color markers that fade 
away after a month, and come back later on"
oil on canvas
olej, płótno
wym: 115 x 115 cm
2015 r.

   “Guilt is not the curse of the human – the body is.”  These words, uttered in 1966, characterized a paradigm shift. These words, especially for women, formed the nucleus of the emergence and omnipotence of sin.  As women came into existence, they became the synonym of sin and their bodies the essence of sin. 

It is not an accident that the woman’s body, rather than the man’s, was framed as sin.  Forever, well, ever since forever existed, the man’s body was epitomized by one organ, which contained a lifelong monogamous covenant.    Since then, the woman’s body was always covered, veiled, suggesting that it 
was anything rather than something. This veiled ‘fogginess’ was and still is a fascinating entity from the male perspective.  But behind the veil, lurked fear.

The world took a deep breath, and held it; intuitively feeling that behind the veil must be a woman’s voice.  And it finally happened – of course, that is the way of things. And regarding why has history made us wait this long? Oh well, let us rejoice. Because it is us that can look at what only a woman can show 
us, without having to resort to voyeurism or to allow ourselves to become tantalized in various performances. 

“Giving to be seen” omits all presentation traps. That’s how Judyta Krawczyk’s collection of work works. 

The collection of paintings is accurately entitled a list of things. Things, in the plural, knowingly touch the paradox. We are used to a viewing a body like a painting, with the cursed “like it/don’t like it” dichotomy and the body as an object, presented for someone’s enjoyment. 
  The body as a Thing, capitalized, isn’t just any thing.
Presenting anything as Things, or the objectification of everyday objects has a long history and is no longer new.   These images, however, pertain to the Thing that is the body.  We are no longer discussing a body as an object, dressed, with make-up, or myth.  In this collection, we don’t see a body as an organ or a player of erotic games, rituals or schemes. 

The body presented by Judyta Krawczyk is a Thing, that Judyta Krawczyk speaks. The body speaks in her paintings and the speaking is not just babbling or chatting about this and that. The body presented by her, takes the place of the author, whom which we usually give the privilege.  This collection of 13 
paintings, shows us a privileged body in good and bad (“The Beginning is the End”, “I Placed/Sad, I Hung Something?”), in ecstasy and torture (“Kiss”, “Despair”, OMITTED),  in bliss and indifference (“Vacation”, “I will stay here, and you fly pussycat?”), in love and lust (“Faithfulness”, “Don’t take away the servants’ freedom”, “Guardian”), and in commonness and splendor (“A House without Flour isn’t a Home”, “Untitled”, “P1”).
  If a man weds the organs, the woman weds her body. This pair is so tight-knit, that nothing can come between them.   This is where we have soil, fertile or not, and the heavens, kind or evil.  Above and below is the body, and between is she - Judyta Krawczyk, as well as, all other women. 

The woman is an instrument of the body – but maybe we should generalize and say that every woman is an instrument of the body but not necessarily her own.
  If only for of this reflection, it is worth looking at “List of Things”.

Krzysztof Pawlak