The „Escape forward” exhibition refers to the element of “Air”  being a unique photographic parable telling about – real? – nature of woman: her sensuality, transitoriness, beauty and delicacy. Simultaneously, it indicates impracticability and inability of true knowledge. The “Escape forward” project became a part of the exhibition, and then the albums “Naked” and “Akt3”. 

Repeatedly awarded album “Akt3 – NAKED WIND”, published by Art and Psyche publishing house, accompanies the exhibitions of Jacek Jędrzejczak’s “Escape forward” photographies.

Project carried out in the years 2005-2008

• 2013, The Polish Act of photographs, National Museum in Gdansk (05.07-15.09.2013)
• 2011, Month of Photography Krakow, House of Albums – Krakow (13.05-12.06.2011)
• 2011, TMC Bookstore, Library of the University of Warsaw – Warsaw (22.03- …)
• 2010/2011, Old ZPAF – Warsaw (21.12.2010-07.01.2011)
• 2008, XXI Days of Photography in Swidnica, Public Library – Swidnica (19.09-30.10.2008)
• 2008, Photography Gallery MCC – Ostrowiec Swietokrzyski (01-31.08.2008)
• 2008, International Festival of Photography, Dobowsky Castle – Levice / Slovakia (02-04.05.2008)
• 2006, Exhibition – Wałcz
• 2007, Fuji Film Photo Gallery – Kaunas (24.10-13.11.2007)
• 2005, Green Gallery – Warsaw (10-30.11.2005)

Writing about the nude is like photographing: tempting but at the same time difficult. Tempting because of the beauty of the motif; difficult because human figure encapsulates the essence of lifeand,  as such, also art in the substance of its existence and richness of passing. How can one thengive it a sensible expression, remembering about the centuries-long artistic tradition in which thenude has occupied a prominent position, somewhere between the object-focus of still lives andphonomenality of human impermanence. The static beauty of the nude has left today’s art together with the esthetic and mimetic understanding of creation. If it is there, it appears mainly as a quotefrom everyday life mundane, mostly degraded, as an element adding credibility to expression ofincreasingly privateauthorial statement. Very rarely do we come across in visual arts, including inartistic photography, the nude motif as the principal creative material of the image with the creativeintent focused on this particular, exceptional artistic encounter with the viewer, possibly with theexception of the so-called intermedia works. I am excluding the numerous manifestations of nudityin our today’s environment as they occur on account of high temperatures, erotic fascinations, fashion, advertising and cultural populism.

About the photographs of Jacek Jedrzejczak can say that the presented photographic images, before they became a naked woman or any other anecdote, are first of all flat surfaces unveiled from illusory space by the light and recorded in a specified order. Hence the author’ intention was not to show nudity but fascination with the secret of uncovered biological forms emerging from the phenomenality of motion.

The kineticism was presented in the photographs of Jacek Jedrzejczak, in which a figure, silhouette, gesture and temperament complement the vitalism of the person, unique features of the „portrayed” person where the face is not necessarily a material expression. Fleetingness of emotions, beauty of forms in impermanent motion, discrete transformation of feelings and a “story line” broken up by the rhythm of the shutter, not life itself, make it possible to record the impossible and externalize the internal. Selection of frames and their structuring, narrative of the presentation build the author’s (not the model’s) story.

The classic photographs presented, treated as a „trace record of light” to use prof. M. Porebski’s phrase display all the features of selection from a sequence registering the form in the process, analyzing their shapes in spatial relationships. Authorial selections of frames is each time a discovery of the feeling of form, fascination with the nature of beauty but also a search for its expressive forms and an attempt to build the sense exceeding pure record, as this is also a story of life, its natural assets and a slightly nostalgic but persistent form of sanctioning it in the artistic space. This record is also a particular form of documentation of the beauty of woman’s body at its optimum time, as if captured and defending itself against inevitable, albeit slow, degradation. Through this, individual frames become timeless “real images”, real because beautiful and therefore recorded for all times.

And that is the sense of photographic record.