Malgorzata Bany’s Quest For Sensual Utility

``What I try to encapsulate in my works is the essence of the observation or experience translated into abstract form.``

Malgorzata Bany is working across a wide range of disciplines including sculpture, furniture and homewares, her work adheres to the principles of sensuality, tactility and minimalism.
Her creative process begins with exploring abstract form, intuitive and without prescribed function the object is open to interpretation. It often relates as much to human body and nature as it does to the natural world. Works are both utilitarian and sensual, they reflect the soft roundness of the cheek solidifying into the arch of a building, through a breaking down of scale, the handheld and the monumental become interchangeable.

Interview

Numeroventi: Where do you draw inspiration from?

Malgorzata Bany: To start with most recent project, The Jade collection of furniture and objects has been developed over the past few months between my studio in London and residency in Florence. This group is a result of my ongoing exploration of abstract form as well as reflection of my experience of Florentine architecture and fabric of the city itself; the voluminous roughly carved stone facades, the fine lines and sharp returns of vaulted ceilings, lustre smooth surfaces of polished stone sculptures as well as time-based effects of erosion and decay of the historical city.

Given that my current aim is to maintain utilitarian functionality with the principle that objects must stand on their own terms, my inspiration spans between ancient objects of everyday use to architectural details of modernist building. I will always be drawn to subtleties like colours, volumes, contrasts but also symbolic value and history. What I try to encapsulate in my works is the essence of the observation or experience translated into abstract form.

 

N: When do you consider a piece completed?

M: To create an object utilitarian and sensual at the same time, that strikes a balance between emotive properties and purely abstract idea, familiarity and strangeness – these are the qualities I am looking for in my work. When I feel I got close to achieving that, it is usually a good time to stop and reflect at least for a moment.
I also value pieces which don’t complete the thought process but expand it and make it progress further. For that reason, pieces that haven’t exactly worked or never got finalised might be very precious to me.

N: Has working in Florence and at Numeroventi influenced your working method?

M: While in Florence I decided to focus my attention on model making and prototyping. It was my intention from the offset to allow myself some time to focus on ideas and simply enjoy the process rather than applying pressure of delivering a complete product or a finished work of art. There is a lot to be said for a couple of weeks of peaceful, uninterrupted dialog with your own thoughts and practice. Numeroventi certainly gave me a chance to remind myself of that and hopefully I will continue to nurture it in my studio in London.

N: What is the part of your practice you consider the most difficult and why?

M: I think that if you are really invested in your practice it is easy to turn all the difficulties into a learning process, the failures are just lessons, the exhaustion is always paired with satisfaction.

Collect Malgorzata Bany´s Work