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In their symbolic appearance, Siegfried Zaworka's pictorial elements could assert themselves as shapes quickly recognizable to the consumer – as links along the food chain or within the cycle of materials. Though, when coupled with floral fragments, sausages and eggs create bizarre constellations, which rule out the reducing of their existence to their mere presence as stuffed skin.

In hermetic and two-dimensional seclusion, the depicted figures act as camouflaged and deceptive lone warriors, appearing strangely trapped in this role. The scenic world into which their being is incorporated seems to have become too flat to preclude their need to coexist and cooperate with others. Rivals take advantage of their competitors' existential similarity, in order to establish divisions and strategically functional units. Opponents become their own reciprocal copy. It is in their self-abandonment that they duplicate themselves. Now, not even the differentiation between what is original and who is reproduction remains. Now, it is no longer a question of every man for himself, but much more of together we stand, advancing against the viewer. The collective commitment is now based on smugness, without a doubt. A performance of this kind, founded upon self-contained symmetries, creates such a force that the casual observer could, at first, be rebuked by it. This direct confrontation is propagated with a feisty attitude.

In a moment like this, recognizing a vis-à-vis as symmetrical provokes its characterization on the basis of trust. But, Zaworka's ensembles do not necessarily allow for engaging in such a close relation, as they would then surrender their common statement too quickly and decompose into what they had always been: inhibited and oblivious solitaries; recognisable (single)objects, indivisibly entwined in mysterious unions; intrinsically lifeless bodies and silent shells that, in their symbiosis, turn out to be brute icons. Considered collectively as fine specimen, individually as optional, pathetic wimps. Their focus is their weak spot, and this remains a gap. For in a mirrored world, there is no central figure that can be held accountable. The effect of such an existence is based upon its side effects.

Zaworka's heroes carry out their existence as blood-less patients in a realm of shadows. In a shameless, coy manner, and under the décor of their own absence, they defy the (food)stuff and goods of their own consumption. Objects of desire get into a destructive electricity of self-denial, occupying just as much space as they negate. In their commitment to this pose, the actors renounce the ridicule to which they have made themselves vulnerable, transforming into grimaces. The burden of (auto)destruction imposed upon the pictured groupings also attacks every single individual. But, here, the outcome of the collapse is not a redeeming extermination; instead, all remnants begin to recreate themselves, again and again.
Siegfried Zaworka shows a clever, complete system with a semi-intelligent staff, which is easily made the instrument of the viewer's plaisir. These images of infinite loops also reflect their own lithographic makings. Indeed, Zaworka's forms seem to be only roughly sketched, but they are in fact set in stone and thus provided with the restrictions and the legacy of the depicted figures. Hence, printing is applicable as the repetition of an idea and as the permanent transfer of a doctrine to the depicted. Zaworka's objects are introverted in such a manner that they negate their surroundings. Their choreography is not a tenable balance…

Jakob Neulinger