In his photographic works, collages, sculptures, and installations, Polish artist Piotr Uklański uses stereotypical motifs and strategies from pop culture, art, and cinema to address issues of cultural identity and authenticity.
Uklański has a reputation for a certain insolence with regard to the way he plays with audience expectations, the way he not only uses strategies of selfpromotion and marketing but also draws on them for fundamental aspects of his conceptual work, and the way he coopts references. He starts with pictures that are already bankrupt, hackneyed, and hollow and proceeds to totally destroy them. He recycles visuals, concepts, and clichés—landscapes, sunsets, Hollywood, great artists, collectors, curators—and gives them a new presence, both crass and seductive, precisely by questioning the politics of different visual worlds. But it would be wrong to describe his approach as either critical or affirmative. These categories will not stick to his perfect surfaces, just as they won’t stick to the works of Jeff Koons.