Traveling means being on the road. This knowledge is even more ingrained in our heads since the pandemic was declared: Traveling makes existential sense. Marcin Andrzejewski’s photographic journey deals with this subject in a unique way and takes us to places that are important to him from the point of view of cultural history or subjective experiences. I am looking at these photos and I want to immediately share with my fellow travelers – what life is like – not only what I see, but ask them if it is a joke or a provocation? Nevertheless, with the point of view – personal – it is difficult to argue, it gives us something special – our own sensitivity. We gain a lot, because in addition to the world of ideas, the points of view, experiences and biographies of other travelers, in our case also of the photographer, are also very inspiring – which intensifies the role of the image.
Marcin creates beautiful photographic projects, documenting Africa in recent years; he is looking for the end of the restrictions and opening the way to the continuation of the wonderful, b-w photography in the wet collodion technique.
Traveling doesn’t just take place in the field. The second same place is our own head. After all, these are memories that we keep within ourselves.
Memory encompasses not only the visible, but also perhaps most of all, what is hidden and that arises in contacts with people encountered along the way. The new exhibition by Marcin Andrzejewski is a reference to new technologies, both in the area of image recording and its dissemination. He used a smart phone for shooting and made the photos public on the Instagram internet platform.
Does it stick with historical photography on glass plates, of which Marcin is a master. Well no. After all, we are still dealing with wonderful cadres that they take and take us on an intellectual journey. We can compare what Marcin suggested with our experiences. It is discovering new areas of the world that are hidden for many of us.
Photographing with passion, seriously and at the same time with pleasure – it is best to do it in the form of a dialogue, in exchange with other arguments, on the basis of good, original visual material. The photographs of Marcin Andrzejewski are perfect for this. They are – in their form – universal. Thanks to their “literary” form, we are already in the middle of events.
Marek Poźniak