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SaveNurse Venus Duality Bronze Sculpture
| Year of creation | 2025 |
|---|---|
| Dimensions | 40 W × 60 H × 40 D cm |
| Weight | 60 kg |
| Type of art | sculpture |
| Style | baroque |
| Genre | mythological |
| Materials | Bronze |
| Modules | 2 |
Description of the Artwork “Nurse Venus Duality Bronze Sculpture”
Nutrix Venera (Diptych) is, quite frankly, a magnificent kind of madness — the sort of sculpture that refuses to behave politely in any interior. Two faces, two energies, captured in one bold vision of femininity that feels both ancient and strikingly contemporary. There is real originality here — not trend, but instinct. It carries a confident, almost theatrical presence, balanced with control and precision. The contrasts create tension and curiosity, giving the piece a strong, unmistakable identity. And it doesn’t sit quietly. It draws people in. Conversations will start, eyebrows will rise — and yes, people will want to touch it. Inevitably. From a collector’s point of view, this is a true rarity — a work that defines a space rather than decorates it. In slightly British terms: you can either enjoy it at home — or, quite possibly, admire it in a museum someday.
Krzysztof Plonka, Poland
Krzysztof Płonka Kraków, Poland Born 1972 Sculpture, painting, multimedia practices “Perfection will last forever” Krzysztof Płonka is an artist working at the intersection of sculpture, painting, and new media. His practice is centered on form as a site of tension between materiality and projection, the physical and the imagined. He creates monumental bronze sculptures marked by a high degree of formal discipline, while simultaneously developing work within film, video games, and digital image production. He has contributed to visual effects for productions such as Avatar II, Get Even, The Witcher, and Medium, forming an important technological foundation for his artistic language. His work remains in dialogue with the legacy of surrealism—particularly the aesthetics of H.R. Giger and Zdzisław Beksiński—yet it resists direct quotation. Instead, these references are transformed into a distinct and recognizable visual idiom, where organic and mechanical elements merge into hybrid forms. Płonka operates across sculpture, installation, and performative structures, consistently challenging stable perceptual categories. His works do not merely represent; they construct experience—situations suspended between unease and contemplation. A defining feature of his practice is the tension between technical precision and semantic ambiguity. Rejecting mimetic representation, he builds visual structures grounded in dissonance and internal contradiction, guiding the viewer toward an encounter with form as something inherently unstable. His works are held in private collections, and his practice has attracted a growing circle of dedicated collectors as well as an engaged and expanding audience. Płonka’s artistic practice remains an open process—continually redefining the relationships between disciplines and the boundaries of the image itself.