What Are You Doing Here?

Fri 27 Mar 2020 to Mon 06 Apr 2020

A group exhibition

John Anthony | Alicja Bronowska | Julie Brunskill | Jess Parry | Alina Skorohoda


I use portraiture as a vehicle to highlight the diversity that can be found in people and to ask questions about our response to an interpretation of facial imagery.

We are recognised and distinguished by our facial imagery but is it getting the response we expect or do others interpret our signals in a totally different way.


The idea was to challenge her self-organisation exhibition in Volcano Swansea. The group exhibition is giving her opportunity to work with different artists speaking different languages .

'What are you doing here ?' 'Co ty tutaj robisz ?' is symbolic of communist system learning from different cultures good and bad.

That is the power of Art .

Contact with nature in childhood allowed me to understand the spiritual state of the artist.

Living in Wales give me benefits and responsibility to be a good individual person. Powerful film and sculpture, painting give me freedom. 

No matter where you're from, cooperation between Great Britain and Poland and other artists' countries is the best way to solve problems. Working with people in Wales is my choice. Iit is very important to work together involving children and young people with art and understand how important is for all of us, like Andrzej Tarkowski who is my ideal of art. Thanks to his films I discover myself, passing on his knowledge I'm proud that I could delve into his feelings and emotions. Walking in his path I learned not to be afraid.  Or feeling guilty .


This body of work is about chance, contingency, time, trace and transience. Walking the path over the course of a year, documenting changes in the clay and making the poultices became ritualistic acts of reterritorialization and healing.

The journey takes place along the broken path – curtailed, truncated at the point where the clay is smashed. There I inspect and record the clay, the ground; note changes produced by time, weather, leaf drop, bird droppings, insects. I turn and take the same path back. The rhythms of this passage - the roots of the cherry interrupting/disrupting the route of the path - change in line with the weather. Sometimes I pick my way along the paving slabs carefully avoiding wet grass, muddy soil. When very wet I deliberately step onto tree roots between the slabs or quickly, delicately, step onto the grass beside the paving, avoiding broken, submerged slabs – lost to the elements. Very occasionally it is dry enough to walk insouciantly – not caring whether feet make contact with slabs, roots, grass, soil or borders.


Jess's practice takes the form of painting. She describes herself as a figurative painter but not necessarily of the literal figure.

Flesh is primitive, primordial and her primary subject matter. There are many ways for her to explore it.

Mortality through materials is at play.

She is obsessed with the sophisticated form of the suspended carcass and this close proximity to that object reveals the heightened confrontation between the human/animal, therefore the conceptual portrait of the raw human condition.

‘Why is he a butcher, presumed to be a man?’  is a question at play in here?#


Alina's artwork explores the notion of a woman's duty to the world. She responde to the feelings of obligation that haunt women everywhere. Alina uses domestic objects in her work. Through altering these objects she questions attitudes, fears and unwritten rules which have formed a hostile environment and women's behaviour within it.

Alina works using mixed media materials and everyday housekeeping objects.

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