złom, metal, 1993r.
Yugoslavia, scrap metal, 1993
Żółto Niebieski, Blacha, 1992r.
Yellow-Blue, metal sheet, 1992
Metal, 1992r., Kanada
Metal sheet, 1992
Bez tytułu, blacha, 1992 r.
Untitled, metal sheet, 1992
Renata na tle pracy
Renata with her artwork, Canada
Bez tytułu, Blacha, 1992 r.
Untitled, metal sheet, 1992
Bez tytułu, Blacha, 1992 r.
Untitled, metal sheet, 1992
Metal, 1992 r. Kanada
Tar, metal, 1992
Bez tytułu, akryl na płótnie 1990 r., Kanada
Untitled, acrylic on canvas, 1990
Bez tytułu, złomowany metal, drut, beton 1990 r., Kanada
Untitled, scrap metal, wire, concrete, 1990
Eine kleine uberrachung 1990 r., Kanada
Eine kleine uberrachung, 1990 r
Home sweet home, akryl na płótnie, 1990 r., Kanada
Home sweet home, acrylic on canvas, 1990
Nowy orlean 1990 r., Kanada
New Orleans 1990
Reklama, akryl na metalu, żarówki, 1990 r., Kanada
Advertising, acrylic on metal, light bulbs, 1990
Renata w pracowni, Kanada
Renata in her studio

Canada 1990 - 1994

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Change of space

The artist spent the turn of the 80s and the 90s in Canada. That experience radically liberated her creative abilities. Her works are filled with great power – thwarting the spectators’ expectations about the artist’s physical prowess. The Canada experience was all about an artistic exploration toward something more monumental. The artwork is massive, powerful, painted on ginormous pieces of steel from junkyards. Recycling is the creative matter for Micherda-Jarodzka, who breaks away from the classical form of a painting using three-dimensional concrete elements made by herself. The spatiality of her paintings is directly linked to the reality she was surrounded by in Canada. In her works, one can see elements of letters – incoherent language.