At the beginning of his artistic career, this director of photography and film director was also a keen photographer. His archive works are a light-hearted record of Polish society under communism.
Dziworski was influenced to start taking photographs by Henri Cartier-Bresson. He even corresponded with the legendary photographer, but they never met in person. Like the Frenchman, Dziworski also sought decisive moments. Although he had a good eye, and was later invited to work for Magnum Photos agency, he chose to move into film. Dziworski continued to take pictures, but only for pleasure.
Dziworski’s photography involved dedicated ‘legwork’ – up to eight hours a day. According to him, patience grants one access to a raw reality which then unfolds like a dance. He believes the most important aspects of photography to be good luck and people; the latter being a condition for any decent picture. He adds:
You must love people. Only they are interesting.
Flirting on the Carpet-Beating Frame reminds me of Miloš Forman’s Czech New Wave film Loves of a Blonde, the story of a provincial girl looking for love in the city. Shot like a mockumentary, the film features numerous non-professional actors and brims with humour, everyday absurdity, and tolerance for human imperfection.
Most of Dziworski’s unpretentious photographs are short stories; anecdotes with unexpected twists. These pictures taken for pleasure, with pure intentions, are exceptional for being ‘art without art’ – they extract remarkable poetry from the mundane. The above photograph was taken in Łódź, where Dziworski would often go photo-hunting around the tenement courtyards.
Originally written in Polish, translated by MB, Dec 2018