Olympia 2024 is a non-figurative portrait of a female body. The object, made from synthetic latex, is both an object and a painting. Latex, often considered a "second skin," was used as a representation of the largest organ in the female body - her skin. Conceptually, the work refers to the superficial (skin deep) perception of women, who are judged mainly by their appearance. I reject this convention by avoiding any resemblance to the female form. At the same time, the object is covered with a number of imperfections resulting from the properties of latex, the creative process and the external factors. They constitute its unique characteristics, which visually allude to the natural veins, spots, scars, and warts. These elements confront my deeply encoded through functioning in a patriarchal society need to be attractive and desirable, from which I cannot escape - Olympia 2024 is a self-portrait.

This haptic piece challenges the stereotypical gender dynamics. I invite the viewer to make physical contact with the object - to touch, squeeze, stroke. In reality, a touch leaves a mark on both the female body and her mind. In this case, the "body" is indifferent; the traces of interaction - if any - remain the sole experience of the viewer.

Olympia 2024 is a critical re-interpretation of Olympia by Édouard Manet (1863) and Olympia by Katarzyna Kozyra (1996).

​​SYNTHETIC ​LATEX, 130.5cm x 190cm