Gabriela Kaziuk est née en 1987, elle vient de Basse Silésie. Elle est fortement liée à la ville de Wrocław. Elle vit au Luxembourg depuis 2011.Depuis des années elle s’occupe de la photographie conceptuelle qu’elle a apprise auprès de grands créateurs polonais en photographie de portrait. Elle présente ses photos soit pendant des expositions qui lui sont dédiées, soit lors de nombreux festivals et salons avec d’autres artistes, tant en Pologne qu’à l'étranger. En parallèle, elle collabore avec des réalisateurs de cinéma et de théâtre. Elle a également photographié des visages célèbres de la scène artistique polonaise et luxembourgeoise.

B i o g r a p h y 

Gabriela Kaziuk  born December 8, 1987 in Opole (Poland)

Graduate of Polish Philology at the University of Wroclaw (Thesis: Representations of Photography in Contemporary Polish Poetry - tutor Prof. Wojciech Soliński)

Graduate of Artistic Graphic Arts in Lodz (Thesis:  Francis Galton's Composite Photography and its Modern Interpretations - tutor PhD Borys Makary)

E x h i b i t i o n s

Individual Exhibitions:

2023 Ziebice, La Petite Mort" (Poland) upcoming

2023 Lodz „La Petite Mort” in Galeria Patio (Poland) upcoming

2010 Wrocław „Fetish is my fashion” in ODA Firlej (Poland)

2010 Wrocław „Taste in Men” Wlodkowica 21 (Poland)

2010 Wrocław „8 i 1/2 mężczyzny” in Rainbow Festival (Poland)

Group exhibitions:

2022 Luxembourg "La Petite Mort" in Frisch Group Exhibition

2021 Roma "Contrast" international collective exhibition

2021 Lodz "Between black and white" collective  Polish exhibition

2009 Poznań „Cafe foto allegro” (Poland) 

2008 Wrocław “Miasto Sztuk” ( Poland) 

2007 Brighton “Art Cafe” (USA). 

Portfolio Review : 

2022 Lisbon,  Festival Fotográfico de Lisboa - Imago Lisboa


2020 There must be something in the water


2021 We are cameras

2021-2022 La Petite Mort


2018 Happ Healthy and Pure,  ISBN 978-9935-497-83-3 / 1300 copies sold

Movie colaborations

Who Killed Asta Nielsen  Réalisateur:Oliver Koos 

The Past We Live In Réalisateur: Jérôme Weber 


Krzysztof Jurecki

What do composite portraits give us?
Gabriela Kaziuk is a graduate of graphic design in Łódź. In 2021, the Commission of Examinations considered her degree the best or most mature in recent years in emerging photography and graphic design, often referred to as postmodern photography. As a postmodern photographer, her work is characterised by atypical compositions of unconventional or sometimes wholly absent subjects. Such today's photography has entered into marriage with electronic editing, which has created new possibilities of blurring, or with a suitable accentuation, emphasising reality. 
Gabriela has titled her several dozen artworks La Petite Mort, describing it as "a series of imaginary portraits of existing people whose faces hide two extreme emotions - sadness and happiness. Using digital and realistic collages, the photographer takes the viewer on a journey across the map of human emotions".
The tradition of synthetic photography
Gabriela has written an interesting Master's thesis on Francis Galton's Composite Photography and its Contemporary Continuations, which presents an overview of this type of work's characteristics and possibilities. The composite portrait in modernism was meant to create models to identify, for example, a criminal or certain diseases used for scientific and cognitive purposes. Today, the old distinctions of photography, such as truthfulness, reality and its representation, have entered into a marriage with elements coming from various spheres of imaging, e.g. fragmentariness, blurring of reality and lack of reliance on ideas (e.g. truth or wisdom), and the pursuit of virtuality and perfection of imaging. The result is a lack of general rules defining human life; hence, has not the objective become information? In this case, the tiny fragments of reality give us a hidden hybrid dimension.
What to look for?
How does Gabriela Kaziuk's photography stand in the face of such aesthetics? On the one hand, she utilises a composition-oriented approach to representation, which was developed in the 19th century and gained momentum in the era of digital imaging, thanks to pioneers like Nancy Burton. In Poland, this type of exposition is done by Aneta Grzeszykowska, and earlier on by Krzysztof Pruszkowski and Stanisław J. Woś. To maintain a specific attribute in her photography and give an intellectual framework for her exhibition, Gabriela focuses on two extreme human emotions - "sadness" and "happiness". The results are intriguing. Gabriela has added a new aspect to a challenging problem, namely synthetic portrait, generally blurring the old distinctions of photography.
Presented in grand formats, this kind of work is about searching and finding specific parts of the face and combining them into a new creation. This is extremely difficult to achieve. In one of the pieces, there is notable muscle tension in the neck, proportionally incongruous to the whole. Is this a mistake? No, it is a way that this series can continue. You can add, for example, too small eyes or too large a nose so that an intriguing image is created. Or, as Ryszard Horowitz once did in a portrait of Jerzy Kosiński, you can insert a bird's eyes to emphasise even more the creative idea of the writer - the author of The Painted Bird.
To maintain the reality ascribed to a particular person, the artist asked each portrayed person to put their "signature" - a short handwritten text referring to their attitude and perception of the world. One may ask whether a description is more reliable than a synthetic photograph or post-photograph? For instance, "The memory of having to give my cat away" or "To evoke sadness, I was thinking of my stepfather, who passed away not long before the photo session". Of course, the ideological expression of the text must be confronted with the photograph itself, which is another step to deciphering the long series.
It made a great impression on me. I first noticed the eyes; in them, I looked for the remnants of a particular person, followed by the nose and the mouth. At the same time, I realised that I could not get to the basic truth about a specific, redefined and manipulated person I did not know. Did this make sense? Yes, just as in the Renaissance, Leonardo da Vinci's synthetic portraits contained the stereotype of 'femininity' and 'masculinity' but, of course, on a different basis, including an unreal landscape. This was also synthetic thinking because the individual elements were real, but not the whole.
The present
We live in times when surgeons and geneticists have created synthetic and modified the first living cyborgs. Consequently, the search for this kind of imaging is one of the postulates of recent photography. However, it is becoming increasingly complex because it is difficult to determine the ultimate goal of such activities, unlike medical experiments, which are supposed to save lives.
The portraits created by Gabriela Kaziuk allow us to reflect on the tradition of this kind of imaging and the general condition of humanity. According to many theoreticians, e.g. Stelarc, this is disappearing or transforming into a new creation between the human and digital body that is supposed to be more perfect but still a utopian road to immortality.

Using Format