Dimensions: 63 x 53 x 34 cm
Signature: signed at the bottom: M. Rejner
Provenance
Owned by the artist.
Exhibited
Warsaw, Senate of the Republic of Poland, Piersi, October 2025.
Michał Rejner’s “Breast IV” catches the eye with its bright pink, glossy form, which stretches out into space like an inflated balloon or a shimmering Pop Art object. Two elongated, fluid forms intertwine, merging into rounded shapes that end in a nipple. Set on a Carrara marble pedestal, the sculpture captivates with its lightness, color, and the almost sensual smoothness of its surface. This initial, almost playful effect, however, is a deliberate tension. Rejner creates a form that is striking and visually pleasing, yet subordinates it to an important social issue. “Breast IV” is part of the PIERSI project—a series of sculptures and paintings dedicated to the female body, prevention, and the need for an open and informed public conversation about breast cancer.
The project was developed in collaboration with the Częstochowa Amazons Association and the Rejner Art Foundation, and was launched in 2025 during an exhibition at the Senate of the Republic of Poland, under the patronage of the Marshal of the Senate. Its significance was further underscored by the fact that this year was designated the Year of Health Education and Prevention. As the artist writes: “Breast cancer is the most commonly diagnosed cancer among women in Poland. Every year, more than 20,000 Polish women are diagnosed with it. Early detection offers a very high chance of recovery. That is why self-examination and regular checkups are so important” (Rejner M., Why Is This So Important?, “Breasts” project, the artist’s official website). Rejner addresses this topic through the language of contemporary art—attractive, intense, sensual, and yet deeply conceptual.
The essence of the project is hapticity. The individual sculptures differ in material, temperature, texture, and color: some are smooth, silver-plated, and varnished; others are cool, rough, or velvety. Unlike many works that are meant to be viewed from a distance, Rejner’s pieces invite the viewer to touch them. However, this is not simply about interacting with the object, but rather about an experience meant to be remembered and repeated beyond the exhibition space. Touching a sculpture becomes a metaphor for self-examination—a gesture of care for one’s own body, health, and life. As the artist states: “Touch, feel, understand—art that saves lives” (Rener M., About the Project, “Breasts” Project, the artist’s official website).
The series of sculptures is also accompanied by large-format canvases, which at first glance appear abstract, composed of a grid of small, raised dots. In reality, they represent nipples—each one is different, and every eighth is highlighted in black, in accordance with the statistic that one in eight women will receive this diagnosis. “The PIERSI series is a collection of sculptures inspired by the stories and emotions of women affected by breast cancer, as well as paintings depicting hundreds or thousands of nipples, reinforcing the message about the importance of prevention in breast cancer treatment. It also embodies the idea of diversity, in which we remain equal despite everything,” says Rejner. “Breast IV” thus remains a sculpture straddling the line between aesthetic pleasure and social commentary. Its pink glow is not merely decorative—it is meant to attract attention, make the viewer pause, and remind us that sometimes the simplest gesture can have fundamental significance.
