Zjawa w Ogrodzie: Press release

 

Location
Super Super Markt, Brunnenstr. 22, Berlin

Dates
July 16 – August 30, 2026

 

We’re pleased to present Zjawa w Ogrodzie, a solo exhibition of new works by Piotr Bury Łakomy (b. 1983 in Poland), marking the artist’s first exhibition with the gallery.

Zjawa w Ogrodzie (A Phantom in the Garden) represents a literal convergence of two bodies of work that the artist has been developing in parallel for several years. Within the Fenix studio in Poznań, these series continually encounter one another, intertwine, and undergo mutual transformation. Their boundaries remain fluid, much like those of their protagonists.

Both the figure of the spectre (Zjawa), understood as a human form and a trace of presence, and the motif of the garden (Ogród) are intentionally ambiguous. They function not as concrete representations but as states, sensations, and modes of perception. 

In this garden, the phantom takes the form of rustling leaves. The shimmering grains of the honeycomb surface evoke a tingling sensation in the fingertips, while paintings created on this substrate recall komorebi, the Japanese term describing sunlight filtering through the canopy of trees. 

It is a garden in which no shelter has yet appeared. Here, you must grow your own house.

 

Piotr Bury Łakomy’s artistic practice explores the complex relationship between the human body, architecture, and the environment. His work is characterised by a synthesis of organic and industrial materials, challenging conventional boundaries between the natural and the manufactured. 

Central to Łakomy’s artistic vocabulary is aluminium honeycomb, a material associated with the aerospace and construction industries. The artist manipulates this industrial product, folding and shaping it into forms that evoke natural structures and processes. Rather than focusing on monumental architecture, Łakomy’s interest lies in the notion of shelter, a theme reflected in his recurring use of organic materials such as ostrich eggs. For the artist, the sphere functions simultaneously as a fundamental architectural form and a primordial shelter for life itself, foregrounding the interdependence of the built and natural worlds. 

The human figure has remained a constant point of reference throughout Łakomy’s career. Loosely drawing on Le Corbusier’s Modulor as an initial system of measurement, he confines even his most abstract works, whether door-frame assemblages, window-like constructions, or suspended sculptures, to anthropometric dimensions and proportions. This concern with the body extends to his recurring engagement with domestic space and its elemental components, including hallways, living rooms, and bedrooms. 

In recent years, Łakomy has increasingly challenged the passive consumption of screen-based imagery by creating works that demand movement and active engagement from the viewer. At the same time, his practice has incorporated more painterly elements. Through rich textures and dynamic cellular structures, these works reveal themselves gradually, offering shifting perspectives as viewers move around them. In this process, Łakomy approaches a form of figuration in which phantom-like presences emerge and dissolve, leaving behind only traces for the viewer to discover.