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  • Marzena Topka : 11th recipient of the Galerie Düsseldorf / Curtin University
  • Department of Art
  • Post Graduate Scholarship Award
    Recipients since 1998
    2009 Marzena Topka
    2008 Mark Parfitt
    2007 Kim Stanley Medlen
    2006 Joshua Webb (Samstag Scholarship 2008)
    2005 No dOFA exhibition - dOFA changes to 1st qtr each year
    2004 No dOFA exhibition
    2003 Bruce Slatter
    2002 Susanna Castleden
    2001 Xavier Pardos
    2000 Tom Mùller (Qantas Scholarship 2008)
    1999 Sarah Elson (Samstag Scholarship 2001)
    1998 Ernst Ellemunter / Andrea Williams

* scroll down for images and DVD clip and Moores Buiding installation 2008

  • Marzena Topka : Foyer installation + Various Tensions, 2009 : 2 screen high definition video installation
    DofA exhibition, John Curtin Gallery 2009 photo: Douglas Sheerer

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Topka Moores Building 08
Image: Marzena Topka (installation view, Moores Buiding, Fremantle 2008)
Architecture & Amnesia, 2008
acrylic and nylon architectural plan
19m x 13m
Marzena Topka, Zofia Topka, Lee Mansbridge, Cecilia Xia Jianhong and The Dead Parrots: Kaye Jacob and Mailee Clarke
Photography: Eva Fernandez

  • Artist Statement : Marzena Topka
  • How can a sense of destabilization be activated through installation?
  • The aspect of space I am interested in alludes to a virtual place, a topology that incorporates junctions between places we encounter and the way we respond to them. That is the affective space our bodies inhabit.
  • There is no continuity between materials chosen and the starting point. Selected materials are not usually associated with the objective context in which they are initially found, for example in offices, architectural firms, or laboratories. Thus misplaced from spaces reserved for geometry and misused for purposes other than their practical application they become unfamiliar and their presence can re-examined. In that way, the rational and the irrational are connected in my work. The moment at which the inherent qualities of materials, enter the work the irrational enters with it. There are distortions and displacements that occur as a result of these material interjections that situate these objects in everyday life.
  • Perhaps it’s as simple as creating spaces to think, to feel, to be…