Archival pigment print on cotton rag/baryta paper
Edition of 11
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Note: Actual colours may vary due to photography & computer settings.
From "Trees-Shadows-Dreaming" series.
Archival pigment print on museum quality baryta paper.
"S" - unframed option: paper size: 33 x 48 cm. Actual print area: 30 x 45cm, plus white margin each side for framing purposes.
"M" - framed option. Size of the frame: 40 x 55 cm.
Signed by pencil on the reverse of the print with details. Certificate of authenticity with further details attached.
Framing: acid free "sandwich" mat, acid free backing board, plus aluminium frame with standard glass. Aluminium (unlike wood) is also acid free.
The image was taken in North West of Poland, in one of the largest cluster of monumental oaks in the Europe, a place which in the past could have been called a “sacred grove” or “locus amoenus”.
2017: "Trees-Shadows-Dreaming", International Photography Festival, Białystok Interphoto 2017, Białystok, Poland.
2014: "Trees-Shadows-Dreaming", Muzeum Dwór Karwacjanów i Gładyszów (Karwacjans’ & Gładysz Manor), Gorlice, PL.
2012: "Land–Scapes", Galeria Fotografii (Photography Gallery), Kraków, PL.
2011: "Iconosphere of non-obviousness", Rabka-Zdrój, PL.
2011: "Romantic", Galeria Fotografii (Photography Gallery), Kraków, PL.
2013: International Photography Awards, USA.
K. Jurecki, Obligatory questions and hidden confessions [in:] Limits of tolerance. Catalogue of 3rd edition of International Photography Festival – Białystok Interphoto, Białystok 2017.
P. Nowicki, Trees-Shadows-Dreaming of Krzysztof Ligęza [in:] Didaskalia, Gorlice-Tuchów, 2016. (first published on authors' blog in 2014).
P. Zięba, Eternal now. On photography of Krzysztof Ligęza, „Południca.”, (2) 2015.
Based in: Poland
Graduate of Polish studies and journalism. After graduation lived and worked in the UK. Asking himself some existential questions, decided to return to homeland and became professional photographer.
In his work mainly focused on documentary and fine-art photography. In the area of his interest a special place is taken by the relation: man-nature-sacred as well as the semantics of the image.
Mostly focused on landscape, as the most open (physical and semantic) field, but does not avoid any other -scapes. Rereading the famous phrase “There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy” is pleased that in the 21st century there are still plenty of them.
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