The title of the exhibition, Inner Landscape, can be understood in several ways: as something related to the artist's own mental states, her (auto)biography, but also as the opposite of the outerlandscape, situated on the surface of the earth and visible to the naked eye. The inner inner landscape is the landscape of the soil and of the processes that take place in it; it is the landscape of the inner life of plants, their roots, rhizomes, tubers and sap, but perhaps also the landscape of what we ourselves – as human beings – have created: the secret rhythm of architecture, the quiet life of things, including those we have abandoned as useless.

Dorota Buczkowska uses various techniques. She is interested in the physiology of plants and in the world in general, in the constant transformation of human and nie-ludzkich, cyrkulacją materii w przyrodzie. W ujęciu artystki rośliny odzyskują podmiotowość, są widziane poza dekoracyjnością i poza kontemplacją ich własności zewnętrznych. Buczkowska zauważa istotność procesów metabolicznych – dla ludzi, bo fizjologicznie i metaforycznie zdrowo jest przecież przepracowywać i odrzucać to, co niepotrzebne; ale i dla wszystkich innych. O tym zdają się mówić prace malarskie z cyklu Thus Spoke the Plant i kolaże pt. Skrypty.

The works in the Herbarium series are made from plant matter dyed with plant juices. Distorted by the reaction between the plant matter and the liquid and marked by the artist's gesture, they take on various forms – including the shape of plant life forms reminiscent of cocoons, beehives or openwork constructions of desert and steppe flora. They encourage us to rethink the nature of things, study the texture and graininess of plants, read into the materiality of the world.

The landscape of the soil is one of reproduction, growth, transformation, decay, death and rebirth. These processes seem to inspire the artist, whose works are often created by upcycling found or unwanted materials. Such works make up the Layers and Presence series. The former consists of highly lyrical, subtle collages in which Buczkowska uses torn pieces of paper, postcards, old notebooks, externalising elements of her creative process: tearing, folding, gluing. Objects in the Presence series are made of found or collected scrap metal, which, when discarded as useless, does not easily undergo decomposition processes. The metal sheets are painted and transformed into sculptures that take on a lightness – the irregular shapes trigger associations with crumpled sheets of paper and in their own way correspond to the works made from plant matter. The artist also transforms glass – she collects broken vases or bottles and glues them together. Devoid of any practical qualities, defective, crippled, they are given a second life, reborn as improbable but beautiful objects – monstrosities that, in reference to the text Obietnica potworności [Promise of Monstrosity] by Anna Kowalcze-Pawlik (from the anthology Teorie wywrotowe. Antologia przekładów [Subversive Theories. An Anthology of Translations], ed. A. Gajewska, Poznań 2012) – undermine established orders, "reveal the unknown, but at the same time expose what we consider the norm" (p. 490).

Structures is an example of natureculture that most directly touches on the complex relationship between nature and culture, which, according to Donna Haraway, should not and cannot be separated. Buczkowska's compositions of biomorphic latex clusters with scraps of cut up clothing – including the artist's own – are a record of her personal experiences. The clusters burst over time, revealing what fills them and what carries the artist's old memories and emotions, suddenly recalled. Both visually disturbing and evocative of living organisms (fungi, parasites), Structures are made of materials that cannot be recycled and remain in the landscape for a long time. In the exhibition, Structures are hatched, mushroom and envelop the air-raid shelter – the historically and culturally significant building that currently houses Wrocław Contemporary Museum (and used to house a clothing store, among others). Here, Structures become a symbol of the presence of culture in nature, invading and changing the landscape - albeit not without consequences.

Dorota Buczkowska's works express thinking about the world in terms of a constant transformation of matter and the need to metabolise reality. They invite us to reflect on what we know about nature, how we think today about its relationship with culture, and how we relate to plants, the earth and the things we have created or built ourselves. Inner Landscape is a story about needs, choices and responsibilities.