EWA WES

Interwencja w przestrzeni publicznej zrealizowana w Nowej Hucie w Krakowie. Żółte betonowe płyty z odciskami dłoni i stóp dzieci, powstałe w ramach projektu Follow the Yellow Brick Road autorstwa Ewy Wes.
Follow the Yellow Brick Road, 2011
Interwencja w przestrzeni publicznej zrealizowana w Nowej Hucie w Krakowie. Żółte betonowe płyty z odciskami dłoni i stóp dzieci, powstałe w ramach projektu Follow the Yellow Brick Road autorstwa Ewy Wes.
Sztuka w przestrzeni publicznej Kraków – Podążaj drogą brukowaną żółtą kostką, Ewa Wes, Nowa Huta
Podążaj drogą brukowaną żółtą kostką, 2011
Żółte betonowe płyty z odciskami dłoni i stóp, rozmieszczone w przestrzeni publicznej Nowej Huty w Krakowie. Praca Ewy Wes zrealizowana z udziałem dzieci.
Follow the Yellow Brick Road – Ewa Wes, sztuka w przestrzeni publicznej Kraków, Nowa Huta
Follow the Yellow Brick Road, public-space work
Fragment realizacji Follow the Yellow Brick Road autorstwa Ewy Wes. Betonowe płyty z rejestracją obecności dzieci, funkcjonujące jako trwałe ślady w tkance miejskiej.
Sztuka w przestrzeni publicznej Nowa Huta – Podążaj drogą brukowaną żółtą kostką, Ewa Wes
Podążaj drogą brukowaną żółtą kostką – Nowa Huta
Żółte płyty betonowe z odciskami dłoni i stóp dzieci, zrealizowane w przestrzeni publicznej przy NCK Nowa Huta w Krakowie. Projekt Ewy Wes.
Follow the Yellow Brick Road – sztuka w przestrzeni publicznej Kraków, Ewa Wes, Nowa Huta
Follow the Yellow Brick Road – public art in Kraków
Publiczna realizacja Ewy Wes w Nowej Hucie. Betonowe płyty zarejestrowane jako ślady obecności, funkcjonujące w codziennym obiegu przestrzeni miejskiej.

Follow the Yellow Brick Road

Can a memory from childhood change our life?
Follow the Yellow Brick Road was developed in dialogue with school teachers and activists from the Nowa Huta district to address the lack of activities for children spending summer holidays in the city and to respond to the deficiency of art and cultural events for children during the school year. It questioned how art activism could contribute to the reinterpretation of the area, its public life, and its future development. By employing the language of play the project motivated children to create their own footprint and handprint casts in yellow concrete, using the symbol of a Forecourt of the Stars to point out the importance of each child participating in the process.

The work operates through inscription rather than representation. Handprints and footprints function as direct registrations of presence, produced through a repeated, elementary action. Each concrete plate holds  traces without hierarchy or differentiation, forming a structure based on accumulation rather than composition.

Installed in public space, the plates entered everyday circulation as material traces embedded in the urban fabric. They were encountered incidentally, subjected to use, erosion, and disappearance. Meaning was not fixed or communicated through narrative, but emerged through repetition, duration, and gradual loss.

Originally realized as a permanent installation within a festival framework, the work is no longer present in the site. Its current absence remains undocumented. What persists is the record of a public-space inscription that entered everyday circulation for a period of time, functioning through accumulation, exposure, and gradual erasure. Memory operates here as storage rather than narration, and presence is registered only through the trace it leaves behind.

Art and Happening in Public Space

32 concrete plates developed with the public within a month happening

NCK Nowa Huta Cultural Centre Cracow, Poland, 2011

Follow the Yellow Brick Road

Art and Happening in Public Space

32 concrete plates developed with the public within a month happening

NCK Nowa Huta Cultural Centre Cracow, Poland, 2011

Can a memory from childhood change our life?
Follow the Yellow Brick Road was developed in dialogue with school teachers and activists from the Nowa Huta district to address the lack of activities for children spending summer holidays in the city and to respond to the deficiency of art and cultural events for children during the school year. It questioned how art activism could contribute to the reinterpretation of the area, its public life, and its future development. By employing the language of play the project motivated children to create their own footprint and handprint casts in yellow concrete, using the symbol of a Forecourt of the Stars to point out the importance of each child participating in the process.

The work operates through inscription rather than representation. Handprints and footprints function as direct registrations of presence, produced through a repeated, elementary action. Each concrete plate holds  traces without hierarchy or differentiation, forming a structure based on accumulation rather than composition.
Installed in public space, the plates entered everyday circulation as material traces embedded in the urban fabric. They were encountered incidentally, subjected to use, erosion, and disappearance. Meaning was not fixed or communicated through narrative, but emerged through repetition, duration, and gradual loss.
Originally realized as a permanent installation within a festival framework, the work is no longer present in the site. Its current absence remains undocumented. What persists is the record of a public-space inscription that entered everyday circulation for a period of time, functioning through accumulation, exposure, and gradual erasure. Memory operates here as storage rather than narration, and presence is registered only through the trace it leaves behind.