Untitled Carpet’s pattern follows convention with symbols that form a story, but in this instance, it’s the story of contemporary Warsaw.
Details: Graphic designer Jakub Jezierski based his design on authentic photographs documenting architecture and events in Warsaw. The geometrized pattern of a double warped textile he once saw in an ethnographic museum piqued his imagination, reminding him of the lo-fi computer graphics employed here. Jezierski invited weaver Małgorzata Pepłowska to collaborate and produce the carpet. The tapestry was created for NASZ, an exhibition showing objects designed and manufactured in Poland, curated by Tomek and Gosia Rygalik.
“The carpet’s pattern follows the conventional design of similar fabrics – a rhythmic configuration of symbols forms a story, or an allegory of contemporary Warsaw and its society. These are indeed elements of local folklore: the banks and pharmacies that plague the modern districts of Warsaw, an excessively popular type of paving (the ‘Baum’ paving, whose omnipresence exceeds its actual functionality), dog excrements that mercilessly show up in the streets after the winter snow has melted. Jakub Jezierski is ruthlessly mocking the ailments of life in the capital of Poland, while at the same time creating a somewhat universal grotesque story about public space.
What gives away the specific location Jezierski concentrated on is its central element – the Temple of Divine Providence – a construction with a now over 200-year-long history of controversy. Initially planned out in 1791, as a votive church celebrating Poland’s Christian tradition and, more specifically, the passing of the national constitution, it has still not been completed, encouraging pumping of millions of złoty into a building in a generally secular area.
Once a royal residence, Wilanów is now an area inhabited by young middle class families. Despite the award-winning plans to develop this newest part of town into a lively and well-connected area, the district turned into a lifeless dormitory, dotted with banks, fences and CCTV cameras, instead of spaces inviting social interaction.
We operate in a world of icons, symbols, which very smoothly link to the simplicity and primordiality of folk art.” culture.pl