Tree trunks captured from a frog perspective form a vertical axis of composition, one that is also an axis of comparison of the two sides of a tree. Female bodies photographed by Dłubak from a similar perspective rise upwards like obelisks, the thighs and torsos filling the frame, becoming monumental. The similarity of perspective calls into question the way we view these two different objects – the tree and the body – and the associations this evokes. The tree and the body acquire common attributes: stability, monumentality, vitality, sensuality.
Sheets of paperboard have been cut through and the photographer precisely demarcates the in-focus area and the less sharp surfaces. He also arranges sheets of paperboard next to fragments of the body: chest, stomach, buttocks. In doing so, he pays attention to the details – the micro-particles pressed into the paper mass or the tiny hairs on the model’s skin – analyzing differences between the two surfaces, scrutinizing their texture, colour and the play of light on them.
Foreshortened images of faces highlight the arches of the eyebrows, the depth of the eye sockets, the curvature of the cheeks and mouth. They are yet another study of the similarities and differences between the two sides of something – the human face, in this case. Shown in a long sequence, they are compared, provoking the question of whether the use of the same deforming perspective can erase their individual features.
Close-up images of the female body – mouth, vagina and buttocks – form the longest series within the "Asymmetry" project. Fragments of the body have photographed from a very close distance. As a result, it is hard to guess what the abstract compositions of shapeless forms and shiny surfaces really represent.