Michalina Hendrys

Born in 1989 lives and works in Cracov, Poland. Particularly interested in pinhole photography of any source and kind. Creates her own camera obscura trying to take advantage of all the opportunities offered by this technique. Creates both pinhole images and movies based on the optical darkroom phenomenon. In her work she seeks to abandon the two­dimensional understanding of photography, by highlighting its spaciousness in a variety of ways, including the use of photographic emulsion and private methods developed on her own. Topics of her works focus on, but not limit to: space, landscape and portrait.

Filmography:
The Real Dreams (2014)
Visible - Not Visible (2014)

Films

  • The Real Dreams10’54’’

    Production: PL 2014

    The film consists of time-lapse images taken in different spaces converted into camera obscura. These are: the igloo, hunting pulpit, cave, tent, boat and caravan. The author shows the magical aspect of photography that appears spontaneously in nature and is omnipresent. Inside a closed, darkened space you need to create a small hole to be able to admire moving projections of reality. The external view of the world is inverted inside the room, so two spaces merge into one extraordinary image. The author selected the spaces which are , to a degree, shelters: “When I am hidden inside, I am simultaneously an observer of the outside world and the background to the projection of nature. It is, in a sense, a work about me, about my deep connection with nature.”

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  • Visible – Not Visible3’37’’
    Production: PL 2014
     
    The images are everywhere, and nature is the greatest artist. Photography is strongly connected to nature, we can say it comes from nature. Photography contains an element of magic, particularly pinhole photography. The phenomenon of camera obscura occurs spontaneously in nature, it creates the most realistic projections. You can get the most interesting illusions by manipulating those projections. Nature “controls” the process of seeing through manipulating light and shadow. On one hand, the author is paying tribute to nature, on the other: she tries to change the course of things and take control over the process of viewing. Using white and black paint, the author sometimes hides and sometimes enhances nature's projections. Freely changing the viewing angle, focus, stretching and resizing, using paint she gives it a new form. She’s playing with nature.
    Obrazy są wszędzie, a natura jest najwspanialszym artystą. Fotografia, mocno z naturą
     
     
     

     

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