Finding indeterminate locations requires little to no effort; it’s an unconscious and considerable part of travelling. These segments, known to most as transitional or en route, are unacknowledged. They are non-destinations.  But, freeways, construction sites and side streets are all too interesting as visual deficiencies for Janine Miedzik to ignore. Her cryptic objects exist only to gloat over their own transcendence from the overlooked to the underscored and are not concerned about communicating. It’s as if soporiphic color codes emancipated themselves from tar-tacky highways and evolved into every possible manufactured color. Then they copulated to produce patterned objects of hypnotic effect, entirely uninformative but mesmerizing as things of gauche yet distinct beauty.


Crushed by some obscure, omnipresent force Miedzik’s sculptures indicate her own system of striping that is pleasingly impossible to decode.  The reward of viewing them lay not in the destination but in the detour and the happenstance.  They appear in a momentary, unnamed and tertiary space somewhere between painting, installation and sculpture.  A metaphoric location where all traffic lines merge to form utter dissolution and confusion.  Constructed with just an appropriate amount of care, the work inhabits neither the space of provisional haphazard art nor a refined systematic approach.  Their placement on coveted white-walled galleries but also in mucky gardens and deserted lodges evidences their proclivity to transformation and incessant relocation: Hedge Wedge Mantle and Façade.