site-specific painting
After graduating, she applied red streaks to the old plaster of the casemates at Fort Legionów in Warsaw, and marked in the same way the white walls of the Galleria Szara in Cieszyn, the walls and floor of the corridor at the BWA in Zielona Góra and the Ujazdowski Castle in Warsaw. Her interventions at these last two sites, however, were different in appearance. They were in some sense “de-personalized”, or perhaps we could say, “objectivized” – they looked more like the scene of a recent crime than traces of artistic activity. During this same period, shortly after graduation, she also made “stained-glass windows”. As in the case of her diploma canvases and some of her works on walls, she created these by spreading red paint on glass with her hands. She used this type of painting to cover the high windows of the Mariavite church in Pogorzela near Warsaw, a place cursed twice over: by the congregation having been expelled from the Roman Catholic Church and the church building itself having been desacralized. The following year, Burska painted similar stained-glass windows in Frankfurt on the Oder. Both interventions, like those before them, required a strong, physical effort that could be seen as a transfiguration of the artist’s personal suffering. Or, on a more universal level, as her participation in and objectification of the experience of suffering in general.
z tekstu Andy Rottenberg Deathsong, catalogue Blood and Sugar Bogna Burska 2000-2021