I have been fascinated by Surys for some time, enraptured by the neurotic detail of each brush stroke to create a level of depth seen only in the haunting dreamscapes of Henry Fuseli.

There is something Gothic, in the classical sense, about Surys’ hand-coloured photographs. She gives birth to beautifully disturbing images. Her work is gilt-edged with a simple darkness. The intricate working of paint on her prints are reminiscent of the French director Georges Méliès, mirroring his sense of fantasy and Surrealism.

The dialogue of painting and photography unifies what is best about both art forms, creating a marriage of the solid realism of the negative and the fluid surrealism of brush strokes. This allows Surys to bridge a temporal barrier between the contemporary and the traditional. Her work is both classical and yet intrinsically modern, delving into the facade of fashion photography, and at times the burlesque.

However, Surys’ work carries with it the feel of editorial photography, the stipend of high end fashion photographers. She has be widely published and is highly sort after for her deeply melancholy images.

Gothic in the sense of its dark sensuality and the macabre within its strands of sexual tension, Surys’ work is intense fine art photography. Surys has brought into her work a sense of the ‘other worldly’, creating for the viewer an ingress to the metaphysical realm.

Paulina Otylie Surys

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