Horny Mike

here to have some fun




If you get into the 'About' section in her blog, you will read that Dagmara considers it as a sort of gallery of past times. The truth is that her archives are set up as a beautiful repertoire of scenes, places and experiences that succeed one and another heterogeneously, without being subject to a specific pattern. You can not venture that she works in a specific and systematic way in any of the usual photographic genres; on the contrary you will see that she cultivates with equal talent landscape, portraiture and urban photography. Perhaps the key that allows us to find the common denominator that guides her work in photography is, therefore, to understand her photos not so much as a graphical representation of what has caught her attention at any given time, but as genuine fragments of memory that she incorporates to the photographic support not to fade into oblivion, to form a real mental notebook  to which come back after at some time, looking for that past. I bet that in this light we can understand that she writes ‘The world as it was ...’,  to define that framework that justifies its own photograph.

That’s why, while observing many of her beautiful photographs we will have the vivid sensation that they are authentic visual impressions; images whose purpose is not really descriptive because they haven’t been taken with the intention of explaining the viewer what was seen through the viewfinder of the camera. In a way, looking at them, we can reach the certainty that we are not really the final recipients of these pictures - however much we may enjoy them - since the essential, what justifies them, is the way in which they describe the feelings of the photographer and how they have affected her memory, by marking it as these footprints in the snow that must be fixed before they disappear.

I think that from that point of view these beautiful snapshots can be better understood. Dagmara fits that personal framework to the photographic genres that she works, which receive renewed interest under this conceptual perspective. This applies to her talented landscape photography, in which is difficult to escape from the feeling of temporal misplacement, to the certainty that on many occasions has been made the try of removing as far as possible all the elements that allow us to locate the shot scenes in a tangible chronology, and that sort of disconnection of our time -of any time- locates that photographs at an unreal level  that gives them an intense beauty: some of these images make us evoke intensely those beautiful engravings that can be admired in the ancient travel books of the nineteenth century. But beyond their significative referents Dagmara’s landscapes are of great beauty and superb technical quality. Whether it is the Italian Alps, the forests of Slovakia or the icy landscapes in Pogoria, you will see how those scenes are characterized by a perfect synthesis of the traditional rules that define this genre, especially a fantastic sense of composition, a perfect definition of the lines that guide our eyes to the center of interest; and the presence of the sky as an expressive element.

Likewise, we appreciate that decontextualization in much of her urban photography, in which Dagmara seems to prefer the capture of those places that, for whatever reason, caused her some feelings that she wants to treasure in that particular memory that conform her archives. Here it is not about ‘taking the pulse of the street’ as we might presume that intends the more orthodox Street Photography, or to get more conventional and prototypical views of those cities that she knows or has visited in the course of her travels, but the shaping of a kind of visual and mental map concocted from those scenes that should be fixed.

-Juan Manuel