"In Elements of Perturbation Dukiewicz interprets and co-opts mathematical theory by connecting it to life itself, considering how expectations of our idealized future seldom come into fruition as planned, resulting in necessary alterations and adaptations to cater to reality. Responding to the pandemic, she re-contextualized her piece In Every Dream Home a Heartache into a post-apocalyptic setting: transforming the floor into a lifeless, arid landscape. Confronting the pending feeling of hopelessness, she provides a space that instigates a moment of rumination—an individual and collective reflection—for the human species to “regroup, rethink and adjust to a new reality.”
The house, made out of a bio-textile cover, fabricated with hydrolyzed collagen and vegetable glycerin, natural pigments, and the artist’s blood, are all interconnected and interlinked to represent a “non-place—a space of transience” (referring to Marc Augé). The symbolic nature of the house also alludes to the artist’s childhood, when she would be “playing house,” which had engrained the restricting social roles that were expected from her at an early age, acting as a source of anxiety and discomfort. The yellow light radiating from the house is welcoming but also concurrently hostile. The dichotomy of a semblance of safety and an eventual cataclysmic collapse is embedded within the piece, bringing forth contemplations and re-evaluates notions of security.
Magdalena Dukiewicz invites you, the viewer, to lay down and underneath the house, to ground your senses, and to fully immerse yourself into a meditative state—to consider how you must rebuild your home to reflect and respond to your ever-evolving reality."