Izabela Pluta, Spatial misalignments (Set 1, Sequence 1-3 detail) 2018
silver gelatin photographs, 610 x 406 mm

Izabela Pluta’s new exhibition, Figures of slippage and oscillation, explores the assumptions around how place is depicted and perceived. The main component of her installation includes 60 paper negatives that have been made by employing a camera-less process of contact printing full-page relief maps from three different editions of an out-of-date atlas. What eventuates is a visual collapse of states, territories and geographical names that blurs the distinction between the land masses, their coordinates and the political entities that govern them. While conceptually anchored in Pluta’s experience as a Polish migrant to Australia, the artist’s process of dislocating the features of each map also proposes a critique of the procedures of colonialism, its related hegemonic discourses and the effects of globalisation.

Pluta’s working method explores how things come together and draws largely on finding, fragmenting, translating and reconfiguring materials that are both photographed and found. In this new work the process and structure of making photographs is born out of the absence and presence of light and its reaction to the material surface of the pages of a superseded map.

The accompanying component of this new work–and around which this project was conceived–is a piece of audio which charts places travelled. This monologue is played in random order, and describes a chronical of movement around the world in an account of recollection and memoir: of places called on, experienced and occasionally forgotten.

ARTSPACE Ideas Platform
43–51 Cowper Wharf Road
NSW 2011 Sydney Australia

T. +61 2 9356 0555

Gallery Open
Mon–Fri, 11am – 5pm
Sat–Sun, 11am – 6pm


  Threshold , 2018 installation comprising two latex-based ink-jet prints on wall 331x421cm, 321x621cm; and two latex-based ink-jet prints on aluminium 50x50cm, 100x240cm.

Threshold, 2018
installation comprising two latex-based ink-jet prints on wall 331x421cm, 321x621cm; and two latex-based ink-jet prints on aluminium 50x50cm, 100x240cm.

Nostalgia, it’s not what it used to be!
Jane Brown, Phil James, Guy Maestri, Izabela Pluta, Ben Quilty, Joan Ross, Niomi Sands, Luke Temby
Curator Diana Robson

Hawkesbury Regional Gallery
6 April 2018 – 20 May 2018

The components that comprise Threshold (2018) include an image the artist took of a window in her family home when she first returned to Warsaw in 2002; a layered set of reflections inside a natural history museum diorama (originally shown in the series Agency of inanimate objects, Museum (2014); and a blown up fragment of an old postcard depicting tourists gazing into a distant mountain vista. While the reoccurring element of Pluta's work is located within the practice of expanded photography, the method by which the work comes together draws largely on finding, fragmenting, translating and reconfiguring material - that is both photographed and found. Her various approaches are not only bound to photographic reflexivity but engage with the explicit ways that material objects are encountered, experienced, collected, deciphered, presented or interpreted.


My solo exhibition Paper, stone and permutations opens in Melbourne this Saturday 11 March 2-4pm.

  Paper , 2017 C-type print on aluminum 30 x 30 cm

Paper, 2017
C-type print on aluminum
30 x 30 cm

Paper, stone and permutations explores the materiality that is inherent in the objects and places that Pluta documents. These photographs offer a spatial and temporal narrative across a set of material investigations generated through a process of gleaning landscapes and forms which explore traces, inscriptions and erosions pertaining to measuring time via the medium of photography.

Pluta’s practice explores the connection between the philosophical terrain of place, nostalgia and diaspora, and the lure of her personal history (Polish/Australian) to make this enquiry, where she borrows from the practice of archeology to explore image agency and materiality. As a way of thinking about our experience as it is bound to memory and conflated by the passing of time and the span of geographic separation, the images and objects utilised in her art works - photographed or found - are intended to appear that they are of a certain place, pertaining to something specific and significant - yet the entire premise of their production and exhibition is to remind us that the very thing we seek to locate and recall is always out of reach.

108-110 Gertrude StFitzroy VIC 3065
+61 3 9417 7172

Watching Clouds Pass the Moon at Lake Macquarie City Art Gallery by Izabela Pluta

 Izabela Pluta,  Re-photographed   C  onstruction   from   Rupture   2000/2016   

Izabela Pluta, Re-photographed Construction from Rupture 2000/2016

Watching Clouds Pass the Moon
at Lake Macquarie City Art Gallery

Artists: Benjamin Gallagher (Australia), Valentina Karga (Greece/Germany), Nicole Monks (Australia), Eiko & Koma (Japan/USA), Glenn Barkley (Australia), Izabela Pluta (Australia), and Diego Bonetto (Italy/Australia). Curated by Ineke Dane.

Watching Clouds Pass the Moon is an exhibition about pauses. It weaves contemporary explorations of hunting and gathering with a consideration of the purpose of human action. Curated by Ineke Dane. 


opening 2pm Sunday 12 June 

catalogue by Stephen Goddard at Project Two

More dates and information can be found here:


Lake Macquarie is two hours north of Sydney and thirty minutes south of Newcastle

TIMELAPSE at the Gippsland Art Gallery by Izabela Pluta

 Izabela Pluta,  Making Traces #2 , 2007 Chromogenic print, 100 x 160cm

Izabela Pluta, Making Traces #2, 2007
Chromogenic print, 100 x 160cm

Timelapse, a new group exhibition that opened to the public at the Gippsland Art Gallery last week pairs contemporary and historical artworks to initiate conversations in art that span centuries. In spite of the disparity between artworks (in each case, an antique print by a male, European old master has been paired with a contemporary photograph by a female Australian artist), a series of remarkable parallels emerge, proving that ideas in art echo through the ages.

The contemporary artists in the exhibition are Jane Burton, Lesley Duxbury, Janina Green, Rosemary Laing, Polixeni Papapetrou, Izabela Pluta, Susan Purdy, Francesca Rosa, Saskia Pandji Sakti, Maxine Salvatore and Abby Storey. The ‘old masters’ are Jacques Arago, Pieter Brueghel the Elder, Nicholas Chevalier, John Constable, George Cuitt the Younger, Jean-Jacques-Francois Le Barbier, Raphael (after), Salvator Rosa, Paul Sandby, JMW Turner, Jacob van Ruisdael, Giuseppe Vasi and Eugene von Guerard. All works are from the collection of Gippsland Art Gallery.

There is a fully illustrated catalogue to go with the exhibition.

The exhibition includes two of Pluta's from their collection, Trees 2012 (paired with Jacques Arago) and Making Traces #2 2007 (paired with Jacob van Ruisdael).

Featured in 'COMMON GROUND' by Izabela Pluta


Agency of inanimate objects in featured amongst other Australian artists.

Considering the role of artwork and objects in the passing down of knowledge and stories, Issue Three brings together Australian and international artists who play with ideas of myth, monuments, relics, and inevitably, time. From mystic mountains and mythic creatures, to regional museums and assemblages of domestic objects, Time Ago plays with the duality of photography as both narrative and document, deceiver and timekeeper.