1988 born in Poland » Graduated from the Faculty of Ceramics and Glass at The Eugenisz Geppert Academy of Art and Design with the master diploma in Wroc?aw in 2013 » Since 2013 working as an assistant at The Eugeniusz Geppert Academy of Art and Design in Wroc?aw » Participation in many international competitions and exhibitions Austria, Latvia, Slovenia, Germany, Italy » selected for: UNICUM 2015-3th International Triennial of Ceramics in Ljubljana (Slovenia) & International Competition „Talente“ 2014 in Munich (Germany)
„The Deformation of space“ was the title of an exhibition of this Polish artist, in Cz?stochowa in 2012. Ceramic art having an impact or effect on spatial continuum? Dawid ?ynda is interested in the dynamics of shapes. He sets his objects into motion, not only literally, during their production on the potter‘s wheel but also figuratively. His works seem to radiate forces that might create changes at any moment or they seem as if they have been stopped in an instant, halted in their movement through time and space. He continued to work with this theme in Triptis. For his „Herd of the fastest rabbits“ he used a classic shape from the inventory of the factory. The artist cut into the negative mould, relinquishing complete control over what would happen. There is a mixture, on the one hand a smooth, pleasant body on the other torn out edges, and an impression of flight from within the rabbits, flight from time and out of space. The dog sculpture „dog the dynamic“ is worked in a similar way. The installation includes pieces from other creations, originally parts of the manufacturing process. For practical reasons, the artist was led to discover „extra super supports“. Originally they were used to secured the „Sisters night and death“ during the firing process. Now they brace each other, giving themselves meaning and support similar to the space of a pyramid. The „Sisters night and death“ is the most poetic of the work Dawid ?ynda created in Triptis. By modifying the shape, the feminine bodies are transformed, dematerialised, slumped and thrown into being. They seem as if they were salvaged from the ancient world – beautiful and yet destroyed. They also give the slinking impression that they might have recently been built from rolling waves or by computer controlled cuts.