l : h = n

( video HD, 16:9, 5’55’’, 2016 )

The video work 'l : h = n' is the record of the integration of the elements of reality into the grid and figure drawn up in the 16:9 format as a result of the calculations of the space-time rhythm. The work was inspired by the theory of K.Kobro and Wł. Strzemiński, stating that a variety of shapes and dimensions on a plane does not weaken the uniformity of the rhythm, as all contrasts resulting in an image result from the determination of all shapes in a format by the numerical ratio n. 'l : h = n' is the numerical representation, correlating shapes one with another and repeating the mutual ratio of the main dimensions of a projective plane in each subsequent division thereof, combining all shapes in one shared rhythm, resulting from a format'. In the subsequent shots, the different plants, formed with the threads so as to fit into the determined grid, are inscribed within the divisions. The operations force them to stay in an artificial, unnatural position. In contact with nature, such a way of building a composition seems oppressive and shape-deforming. The shapes begin to look like unnaturally formed tree crowns, like those that can be seen, for instance, in Belgian parks. I decided to use the plants because they are the opposite of geometrical, sharp shapes, used by constructivists. Plant compositions can also be associated with the tradition of floral painting pictures, representing bunches of flowers, made to beautify the interiors, feast people's eyes. The house plants I used also perform that function, being grown to serve that purpose. In my work, they appear in the unnatural positions: bent or stretched on the threads, they are trying to fit into the division grid, which, instead of establishing harmony, deforms and disfigures in this case. They are small, isolated against a neutral backdrop, seeming to be dominated by the remaining part of the picture. In the last scene of the film, I decided to cut the thread bending the tip of the dracaena down, thus suddenly restoring the shrub to its original, natural position, thereby spoiling the whole frame, ruining the composition of the division, to further reveal that the plant was made using the ordinary threads, and uncover the artificiality of the situation.