Zdzisław Beksiński in 5 Photographs

1. Sadist’s Corset (1957)

Sadist’s Corset is considered to be one of the most fascinating Zdzisław Beksiński photographs, provoking deep reflection on corporeality and how to represent it. In this photograph, the artist shows a woman whose body is intricately tied up with string. It loses its autonomy and changes to mere “meat”—an object of manipulation. Thus, Beksiński goes beyond the classic canons of aesthetics, presenting the human body as a thing, subjected to external actions and ready for consumption.

There is also an element of surprise, changing the tone of this work, in the form of a ladder which obscures a part of the body. This simple, yet significant measure, creates a distance between the body and the viewer, limiting its erotic aspect and lending the image a more disturbing character. Sadist’s Corset is also seen as a forerunner of body art—a trend in which a body becomes both an instrument of expression and the object of transformation.

2. All Souls Day (1955)

The photograph entitled All Souls Day, a portrait of Beksiński’s mother, represents one of his most important works, deeply imbued with Surrealism. A close-up of his mother’s face, with images of two burning candles placed in front of her eyes, evokes angst, whilst the glimmering light introduces a metaphysical atmosphere.

Here, Beksiński addresses the subject of the boundary between life and death. He poses the question about the presence and the absence. This photograph is a portrait, yet at the same time a reflection on the frailty of existence, full of mystery and inexplicable tension.

3. Girl (1957)

Girl is among the most striking Zdzisław Beksiński photographs, which illustrates to perfection the artist’s fascination with the deconstruction of the human form. The work conducted on the human body, which is subjected to intensive measures of composition—cutting, contrasting, and multiplying—leads to the loss of identity of the presented figure.

In place of the recognizable face, there is a mysterious black void. In this way, Girl becomes an anti-portrait, in which a person ceases to be an individual, becoming just an impersonal matter. Beksiński applies brutal analysis to a human form, obliterating any traces of individuality in favor of pure plasticity.

4. Hunger (1958–1959)

The photograph titled Hunger constitutes part of the series known as The Sets (Zestawy), which was presented by Beksiński at the exhibition Pokaz Zamknięty (Private Viewing) in 1959. It is considered one of the key moments in the history of Polish photographic art. Unlike the traditional approach to photography, which usually captures a single, closed image, Beksiński used the technique of collage in order to evoke nonobvious associations and ambiguous interpretations.

The work combines the photographs of a boy, a woman’s legs, and a coffin, creating images that escape clear interpretation. In this way, the artist not only explored existential subjects but also deconstructed the concept of photography as a document. He broke through the boundaries of realism and opted for surrealist and symbolic deliberations.

5. Province (1958)

Province is one of the most characteristic Zdzisław Beksiński photographs, demonstrating his unique ability to perceive deep, universal dimensions of human drama in seemingly ordinary, everyday scenes. Despite living in a small town, the artist was able to capture images, which—seemingly trivial—comprised the emotional content of unexpected depth.

By making as many as 70 prints of this frame, Beksiński aimed at perfection, typical of him as an artist. He was capable of staying for hours at the same spot, waiting for the right moment to capture what was ephemeral and yet highly evocative, as if trying to stop time at its most significant point.

You can see these and other haunting photographs of the artist at The Phenomenal Zdzisław Beksiński—on view at the Four Domes Pavilion—Museum of Contemporary Art in Wrocław, Poland until August 24, 2025. 

Author’s bio:

Aleksandra Szwedo is an art historian, curator, and photography researcher specializing in women’s history in photography and alternative visual narratives. She works at the National Museum in Wrocław, focusing on feminist reinterpretations of the medium and uncovering the overlooked contributions of women photographers.