human sensorial perception. As an example, in 1960,
he took pictures of an oscilloscope screen. With this
photographic action, he indicates to the viewer a
specified limit of perception. Indeed, human percep-
tion is poorer in comparison with the one that is
registered by a simple machine based on mathema-
tical equations.
Furthermore, Wojnecki’s pictures attest to re-
search undertaken about specificity and semantic
development of the photographic medium. He tries
to develop the evocative possibilities of an object in
relation to the photographic image. In 1965, hebegan
to work with lenticular filters, which change the as-
pectofaphotographicimage.Wojnecki’s efforts with
this technique show the physical potential of the
essence of the components of photography inherent
in an image and the physical investment the viewer
makes in the way he apprehends and reads photogra-
phy.TheseriesDuograms,begunin1970,consistsofa
double image created by the lenticular filter, in this
instancea glasspane. Eachviewer’seye tends to focus
on a different part of the image, which when com-
bined by the brain, creates a unique image.
Wojnecki has also explored techniques in which
the photographic image is transformed into an
expansive space where the surface of the photo-
graph and the distance of representation from the
viewer are taken into account. The image works to
‘‘lock’’ the perception of the viewer elicited through
different optical effects with the perception of the
artist and the representation that results from the
combination of the goals of the photograph and
the technical instrument of realization of the
photography. Depth in these pictures is not a sim-
ple rhetorical turn of phrase, but applies concretely
in the series calledHyperphotographywhere Woj-
necki works in the realm of macrophotography. In
this series, he photographs fragments of the body—
most often, hands. He then breaks the relationship
of the body fragments by reprinting them in large
scale and combining them in site-specific installa-
tions and photographic sculptures.
From 1967 until 1976, Wojneck served as presi-
dent of the Poznan ́Photographic Club. In the 1980s,
he began to think about the relationship between
photography and other media, and began publishing
articles on the topic, includingRevision of Art in the
Holistic-Transcendental Spiritin 1984 andPhotogra-
phy as Communique ́in 1985. He then began ex-
periments of a more plastic nature, juxtaposing,
superimposing, making holes in multiple photo-
graphs, and then assembling them in a number of
photographic installations during 1983–1984. These
installations, while featuring a cubist approach, are
primarily about identity. Faces are replaced by ID
card numbers or other traces of identity in society,
such as inFaces.IntheseriesTrace Is a Quotation A
Quotation Is a Trace(1992), Wojnecki disturbs the
photograph by adding drawings or figures from var-
ious mediums.
In the 1990s, Wojencki elaborated on the post-
media photography concept. Pictures are taken
through a pinhole in the shape of a vertical aper-
ture. The result is surprising. Objects that lay on a
table as static elements seem to be endowed with
movement. He also worked on pictures that result
from digital manipulation. The ‘‘abstract’’ image is
still the result of algorithmic operations. But Woj-
necki transforms this abstract image into a support
for his reflections upon virtual reality, giving in this
manner a part of virtual representation in a con-
crete image. Wojnecki’s work was examined and
celebrated in a major retrospective and symposium
in 1999 at the Poznan ́Arsenal.
ThomasCyril
Seealso:Digital Photography; Photography in Rus-
sia and Eastern EuropeBiography
Born 6 April 1929. He studied Physics at Poznan ́University
and graduated in 1952. Member of the Poznan ́ Photo-
graphic Association, 1952. Study of the history of art,
1956–1960. Between 1965–1969, he built a photographic
shutter and he became interested in stereoscopic photo-
graphy by means of lenticular screens. In 1975, became
an independent art photographer in Poznan ́. Since 1978,
he has been working at the Academy of Fine Arts in
Poznan ́ and the same year, he worked with Agfa in
Munich. Since 1991, Professor, Faculty of Painting,
Graphics and Sculpture at the Academy of Fine Arts in
Poznan ́. 1993, he became a member of the Council of
Academic Artistic Education as an expert. Created the
Scientific Photographic Association in 1998. Between
1991 and 2000, he was the director of six international
photographic workshops calledProfile. Since 2002, he
has been a reviewer of the State Accreditation Commit-
tee. Half-century medal of the Poznan ́ Photographic
Club; Ministry of Culture and Art Prize, 1975, 1979,
and 1983; Gold Cross, Poland,1986; Josef Sudek Artist
of Merit Medal, Czechoslovakia, 1989.Individual Exhibitions
1959 Stefan Wojnecki: Salon PTF, Poznan ́, Poland
Stefan Wojnecki: KMPIK, Szczecin, Poland
1969 Stefan Wojnecki, Faces: Salon PTF, Poznan ́, Poland
1972 Stefan Wojnecki, Duograms: Salon PTF, Poznan ́,Poland
1974 Stefan Wojnecki, Alternative Art: Salon PTF, Poznan ́,
Poland
1978 Stefan Wojnecki, Hyperphotography: Gallery BWA
Arsenal, Poznan ́, Poland
Stefan Wojnecki: Foto-medium Art Gallery, Wroc-
law, PolandWOJNECKI, STEFAN