PIEKNO LA BESTIA: LUCIA FARROW AND MILA ROWYSZYN

  • 'Piekno la Bestia’ (Beauty the Beast), combining Mila’s Polish heritage and Lucia’s Venezuelan heritage, is a culmination of an aestheticised interchange of ideas. Whilst the works themselves are separate, there is a symbiosis in their process.
  • Having met in their first year of their BFA at Central St Martins, Lucia Farrow and Mila Rowyszyn have since... Having met in their first year of their BFA at Central St Martins, Lucia Farrow and Mila Rowyszyn have since...

    Having met in their first year of their BFA at Central St Martins, Lucia Farrow and Mila Rowyszyn have since fostered a close friendship of continuous artistic collaboration. Their exchange metamorphosed over lockdown, as they were separated across the world— Rowyszyn in Warsaw and Farrow in Los Angeles. A way of communication formed that favoured imagery over words. Mila’s weekend trip to the seaside would manifest in 50 detailed photos being sent to Lucia. Polaroids taken by Lucia of a rabbit found dead in her garden would be mailed to Mila. Images one another took would be printed, cut up and rearranged in various settings/locations. Their experiential limitations suddenly expanded to what the other was experiencing and creating, generating a barter of memories.

  • Lucia Farrow

    Lucia Farrow

    I’ve been very intrigued by the interactions and overlaps between ritual, the spiritual, acts of materialization and art. Within my work, I attempt to enter into a realm of my own fiction-- to create scenes and objects that appear unreal and nonsensical, that originate from substance but become formless and sorcerous. Clay is an ancient, ritualistic medium— it’s malleability allows for the material to be worked and reworked. I tend to think of my ceramic works as ‘double entities’, they have their physical (material) being, as well as their spiritual (non-material) self.

  • Mila Rowyszyn

    Mila Rowyszyn

    I find disregarded, neglected, and “ugly” things beautiful. I write about them, I document them, I give them a new meaning. I revoke the narrative, take out the known, context of that scenario and replace it. It’s really a reconstruction— it’s like a system of rebirth, or a system of regeneration that results in confusion, sometimes disgust.