Or let’s start for something completely different, assuming though the only axiom is that this year’s Satyrykon is personified by a clearly feminine creature. To some extent, we might feel entitled to do so by the person of the poster author – a woman. When a few years ago (2012), when as a young talented artist she had her exhibition at Satyrykon Gallery, Krzysztof Cyganiak wrote: a dominant motive of Natalia Stachura’s works are fierce jokes and women position, and making fierce jokes at women. Natalia Stachura uses women, she’s a tamed feminised sexist, she’s a femina who’s looking down the hell-cave of women destiny and who throws into the fire by mocking. It doesn’t look like it’s changed even a bit. You can hardly resist the impression that although there were some earlier attempts, it is Natalia Stachura who has managed to create the real Saryrykon-SHE. And thus this full of joyful energy figure, spring fresh “creature” (the real Satyrykon-SHE?) mocks at all the diets. Doesn’t she remind a bit Niki de Saint Phalle? She does have steal strong muscles of classical ballet dancer. She ruthlessly uses all her assets, like big, true – not blue, eyes. Her long lashes successfully mask her intelligence by letting her make impression of sweet and not dangerous. Steel-waters-run-deep kind of personality. Deep underneath there works a machine precise mind. The example of such work is the poster itself – joining faultlessly the purity of project with multiplicity of elements, tentative unpretentiousness with significance of issues etc. etc. Coming back to Satyrykon-SHE though. For the social sake like, for example, balls (but who knows, may be even in the working hours) she hides her thorns and other convexities under an elegant top hat. Will this top hat make a drink-fellow or teammate of her? Or will it make of her a spy from a fairy-tail rain-land? She takes no prisoners. Red jester’s hat turns into crown when on her head. And you know, there’s only one queen in the world!
bz
