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above: Gosia Wlodarczak (2008) CINDERELLA II - THE DREAMER at SASA Gallery, University of South Australia, Adelaide 20 May - 27 June; right from the top: Gosia Wlodarczak (2007) DESIRE 3: BEO, triptych, pigment marker, acrylic, wallpaper on cardboard, 185 panels, overall size 110 x 255 cm. This drawing installation, is based on the Band & Olufsen sound system Beo Sound 9000, with speakers Beo Lab 5 (a desire of my friend Lorna); Gosia Wlodarczak (2008) INSTALLATION IN PROGRESS - Desire 2: Phantom, finished object size 172 x 600cm; Gosia Wlodarczak (2008) WALL DRAWING, pigment marker on the gallery wall, dimensions variable.

CINDERELLA II THE DREAMER is a hybrid of interactive drawing & performance, installation, video and sound. It was initially exhibited at the University of South Australia School of Art Gallery in Adelaide, 20 May - 27 June 2008. Curator: OLGA SANKEY Guest Scholar: IAN MCLEAN. 

The project explores perceptions of home and the domestic space as a site of dreaming and habitation, where the imaginary and the real co-exist and how one informs the other. During course of the creation process I was inviting friends and colleagues to collaborate in the project by sharing their the desires of possessing certain material things with me. The goal was to 'materialize' these dreams by converting them into installation objects.

Each one of the original objects desired by my friends: a Yohji Yamamoto's outfit, a Rolls-Royce car, a Bang & Olufsen sound system, was a base for conceptual re-makeing into: the drawing installation object, the sound-installation, the video/animation, and the series of C-type prints.

Gosia Wlodarczak 2008

"...The Cinderella hook in the name of the exhibition betrays the artist's wry take on consumer culture which relies on iconic logos to sell the dream of luxury and prestige. But once Wlodarczak has diced and dissected these emblems (constructing them from small, demountable tiles) and effaced them with her graffiti-like inscriptions of personal, domestic realities and experiences, these hieratic forms begin to resemble a latter day Shroud of Turin, stained with the tears of unrequited desire..." John Neylon, The Adelaide Review, June 2008