Portfolio: Ada Zielińska

In my works I am exploring the idea of destruction and documenting the catastrophe that surrounds me, confronting myself with material disintegration. This artistic practice serves me as a specific self-therapy, an attempt to control what is inevitably going to end. My fascination towards destruction constantly evolves. It manifests in the series Automotive Skills (staging car crashes on the purpose of photography); Cold Juxtaposition (a comparison study of defects on cars and humans); or Pyromaniac’s Manual book, in which I arranged car fires to catch the furious moment of disintegration.

Post Tourism: A Study of Catastrophe and Perception "Post Tourism" is a photography series that investigates how locations devastated by climatic disasters become subjects of curiosity and sites for contemplation. This project probes our collective fascination with destruction and explores the complex relationship between spectatorship and the realities of disaster. Launched in 2018, "Post Tourism" captures the transformed landscapes of regions hit by natural calamities, such as the wildfires in California and Australia, and the floods in Venice and Poland. Through my lens, I document the eerie beauty and the stark contrasts found within these scenes, highlighting the emotional and aesthetic dimensions that these landscapes evoke—admiration intertwined with a sense of dread. This series transcends mere documentation, offering a deeper reflection on the landscapes as enduring symbols of natural cycles and human impact. These disaster-stricken sites reveal the tension between destruction and the sublime, urging viewers to reflect on the ethical implications of their fascination with such scenes. "Post Tourism" challenges viewers to examine their own roles as distant observers of disaster. It questions the boundaries of our curiosity and our ethical responsibilities in the face of environmental devastation. By presenting these places not just as locations but as significant cultural and environmental statements, the series invites a critical dialogue on our engagement with and response to the realities of a changing world.

A car on fire is fascinating, a little terrifying, and in most cases- illegal. Fire has a primal allure and watching it consume something as familiar as a car feels like form of voyerism. This mix of fear, satisfaction, and curiosity lies at the core of Pyromaniac’s Manual. What began as a simple urge—to burn cars, take pictures, and avoid getting caught—evolved into something way more important. Initially, it was about the contrast of flames against cold, metallic surfaces, beauty of destruction itself. Over time, though, this series revealed itself as a reflection of my own internal struggles. It became a personal and creative outlet, a way to confront and work through self-destructive tendencies. These controlled fires became a form of therapy. The destruction of each car is almost ceremonial, a process of transformation through obliteration. By documenting these moments, I aim to explore the aesthetics of catastrophe—the fleeting beauty of something being consumed—and the strange intimacy of destruction. I wish you an enjoyable pyromania experience. Ada