Porcelain, 60x30 cm, 2013 


In Jingdezhen's landscape porcelain and plastic coexist almost 'fused' with each other, making the surrounding space look a bit grotesque. The technical fabric called RWB330, to which the designer refers, with its recognizable set of colors and patterns can be found in the farthest corners of the world. Its inseparability with porcelain creates a quaintly odd image of the city and engages in dialogue with the local traditions of pottery, serving mostly as protection for the raw products against external factors.
Mass production is one of the characteristics of the Chinese civilization. Manual work is more often identified with the reduction of costs and exploitation of workers, thus the label 'Made inChina' has strongly negative connotations attached to it in the West. The cheap, machine-based, mass production of the synthetic fabric has been contrasted with the craft process of creating porcelain forms on a potter's wheel and arduous decoration; painting each square several times in order to give the surface a type of structure that would imitate the fabric itself. A huge amount of work, technological experiments and practice were required to finally achieve the level of precision which (especially in Chinese culture) determines the value of the work.

Although from a technical viewpoint the project is far from ideal, any 'shortcomings' are an integral and inevitable part of it, as they make people stop and begin to doubt their illusory effect, causing them to gradually explore the deeper layers of meaning behind the work. Perfection, being the domain of machines, generates cold and anonymous objects and creates a distance that the designer seeks to overcome in her work.



Pocelain, plastic, 63x32 cm, 2013


The largest concentration of ceramic studios in Jingdezhen is located in an area, where railroad tracks cross, brutally revealing the underlying layers of earth and exposing the dark side of human existence. Both bits of plastic, bags, banners and shards of porcelain dishes litter the ground. In some places, greenery is still fighting to take back the space. This colorful collage is simultaneously frightening and fascinating, however residents seem unruffled, it seems as though they too have grown into this landscape, to which they had grown accustomed to already long ago.
Landscapes are important themes, deeply engrained in Chinese art and culture. Patterns are copied from generation to generation, and attempts at creative reinventions are still rare. In this project, the artist attempted to reproduce the Chinese landscape as faithfully as possible, although she did so using entirely means. Pieces of plastic from around Jingdezhen served as a medium to create decorations on traditional porcelain forms. Brushes were replaced by a heat gun. Under the influence of high temperature, the plastic began to deform, to tear and to melt onto the surface of the vessel, and then – suddenly deprived of the heat – froze in its 'shapelessness'. Sometimes the process revealed secrets of the layers underneath, sometimes it created new spatial structures. She treated the process of creation as painting – applying the different layers of plastic coatings to obtain a gradual saturation of colors: from light blue to navy blue.
The project consists of 4 vessels. According to Chinese beliefs, the number 4 is attributed to death, therefore it is usually avoided. It also has a symbolic meaning in Marusińska’s work as it relates to a question about 'the end', as well as the consequences of the exploitation of nature by man.  




Porcelain, 65x28 cm, 2014


From Prosperity to Butt-Nole, via Hutt-Hole to Eterntity

Porcelain, 2014

Classic tableware often possesses decoration in the form of sentimental floral motifs, geometric ornamentation or rustic genre scenes. Here, however, the inspiration for the vessels holding our future meals came from images of the anus produced in transanal ultrasound tests. This is a commentary on the phenomenon of compulsive consumption (both in the sense of acquiring material goods and consuming and digesting food), which exceeds actual need. The pleasure is only momentary - beautiful meals are quickly transformed into material of nondescript form and equally nondescript consistency. Here, before the eyes of those.


Object with a hole

Porcelain, 36x11 cm, 2014


II. V.


Upside Downer

Artifacts, 2013

Ingredients: an old plate or a bowl.
Preparation method: After having dinner, clean your plate with a piece of bread. Turn the plate upside down and put a dessert on the top of it.
Benefits: You do not waste food, save water and minimize the amount of held items. In France and Italy, it is generally accepted to wipe your plate clean of leftovers with bread after meal. Why? Because every other meal is served in the same – unwashed – dish; such practices have also taken place in the Polish village. In France, additionally, plates have been turned upside down to serve a dessert on the top of it, which was dictated by purely practical considerations – shortage of tableware. Nowadays, the savoir-vivre does not seem to allow for this kind of behavior. Yet, these seemingly trivial activities become important, when we think of them on a wider scale. An ordinary, daily practice can lead to a global social, economical and environmental change.



Porcelain, gold, 2008

Action tames the material, i.e. porcelain. It means experiencing it sensually and physically. Working on a mass-produced item leads to creating a unique, individualised object. The tooth marks left on the brim of the vessel are also a play in which the viewer’s senses are engaged, a game of knowledge/ignorance of ceramic production and the properties of porcelain. Can you really bite such a hard substance? One just can’t help a funny association – how delicious the food must be if the dishes left on the table are not only emptied, but also partly ‘eaten’...



Porcelain (industrial forms), 2007

Porcelain factory workers reject dozens of moulded elements a day due to minor flaws or production surplus. Usually, the rejects are then processed again. An interesting alternative is using such objects (in their early production stages) to make jewellery which requires minimum processing.