As part of the Gardens exhibition, photography also becomes a starting point for aesthetic experiments on the antipodes of realism. Its arguably oldest and most popular genre, the portrait, in the assemblages of Paulina Komorowska-Birger, serves as a pretext for the celebration of naturalized artificiality. Fragments of organic wholes (human bodies and surrounding plants in photos by Kamila Markiewicz-Lubańska) highlight the formal virtuosity of their representation and the adequacy of the material used for this purpose, as well as the formal means employed. The glass installation imitating water is connected with the representation of the face. Despite the application of a Dadaist-Surrealist technique of fragmentation, the semantic reference to the anthropomorphic image as a model of the world, as well as the attributes focused around it—ferns, birch leaves, or orchids—become metonymy for the macrocosm and the harmony of man.

Lidia Głuchowska, Exterritorial Gardens - Poetic Ideal - Time, Knowledge, Art. Zielona Góra 2016, p.28