Dear Erin,

A simple description cannot fulfill the plenum of the vision. It seems to me futile to address it this way and so I will simply start from the beginning.

Since I can remember I had a series of identical and feverish nightmares. Strange and alien. I was convinced that it resembled something so fundamental that common language became obsolete.

What's left is just simple polarity; big and small. W.G. Sebald juxtaposes the building with its shadow; Milan Kundera links heaviness and lightness on the spectrum of love. The complete banality of two poles apart. Oppositional forces with just their constitution embodying the whole. As a Nebula with its vast diametrical years and yet, its density of just a few kilograms. A mind fucking paradox.

I wanted to create an existence that is located at the balancing tip of this razor. The very borderline that divides love and violence. To paint joy and harmony with a cast of a shadow; a dawning horror.

It was in early June I went to the Hungarian countryside of Nagy Maros, to a small vacant house in the woods to work. A fermented place with the flow of the Danube River and slow, thick time.

In the painting "Drone Connotation” I created drones, or perhaps what a drone seems like in a dream, inside a shower head. Is the drone violent no more, or only placated by the mundane scene it has been placed? Love and violence is polarized, but without the rungs in between none could insight so much power.


Kamil Franko (b. 1988, Krakow) lives and works in New York and Copenhagen. He has exhibited at Galleri Flintholm (Vester Skerninge, Denmark) and at No Man's Art Gallery (Capetown, South Africa).  Love and Violence is KamilFranko's first solo show in New York.