contemporary art blog

Paint Exposure

The new paintings are built by constructing and removing, creating tension and unity in contrasts, colors and forms. I would like to achieve every layer as a unique and inimitable result that emanates both simplicity and mystery.

The process of creation, defined by actions and decisions regarding hiding and exposing the visibility of brush gestures, building up or destroying the planes – it influences the different aspects of perception and activates the viewer´s curiosity.

The works adopt the aspect of transparency in a way photography does – thin surfaces of paint appear as a kind of multiple exposure.

Horizontal and vertical lines

It is possible that, through horizontal and vertical lines constructed with awareness, but not with calculation, led by high intuition, and brought to harmony and rhythm, these basic forms of beauty, supplemented if necessary by other direct lines or curves, can become a work of art, as strong as it is true. Piet Mondrian

Where is the finish line?

The creation of original, unique abstract art is in fact very challenging. It is mostly intuitive work. After a few years of painting activity, I believe that in abstract painting it is not difficult at all to paint something; the difficulty comes when you need to decide when to break the process and accept what has been created.  You have to trust yourself and believe in the image. It is Saturday afternoon. I am sitting down at my table, thinking about my painting in front of me. It is strange. It has been drawn using graphite on paper, with many layers of white paint (a combination of techniques which I rarely use). Is it already finished or is there any more work to be done? This is why I always take photos of my paintings in various stages. One of them is above…

One on one

For the last two weeks I have been completely absorbed by my studio, working on a new series …

Is the next line the next step?

Of all the pitfalls in our paths and the tremendous delays and wanderings off the track, I want to say that they are not what they seem to be. I want to say that all that seems like fantastic mistakes are not mistakes, all that seems like error is not error; and it all has to be done. That which seems like a false step is the next step. / Agnes Martin

Art is unlike anything but itself

The assumption that artist should re-create what already exist, construct the mirror reflection of earthly or cosmic existence, is in direct contradiction to the fact that the most ‘essential’ in art is always the result of disturbances in the process of reflecting the real. A different manner of representation, which conservatives might call an imperfect rendering of reality, suddenly becomes the basis of creation, an expression of rebellion against the world given – a dream of pure matter, of the phenomenon of visual sound. Thus true art is unlike anything but itself; it enjoys independent, dictates itself its specific rights, creates apparently purposeless fantasies, and yet almost instinctively attains the supreme goal, is the continuation of thought, a creative act with metaphorical or symbolic connections. /Janusz Zagrodzki/

Vibrating Silence

In photography we can never deny that the object has existed

Discipline, asceticism, intrigue – probably the most important principles during the realization of the art photography project titled “Vibrating Silence”.

The situations – arranged or noticed somewhere around us, are balancing between staged and documentary photography. Detail and light – very simple, perhaps even primitive, determine the final tone of the works at the same time.

I would like these works to engage in a dialogue with realism and also in the eternal photographic dispute – whether it reflects or distorts our reality – especially in case of digital photography. When it comes to simply capturing the object, both digital and analog photography stay true to reality. If so, is taking a digital picture really the first step to misrepresenting the facts?

The wall of the world

It is about reaching the wall with your painting – nothing else. The wall of the world. What you paint is almost irrelevant – it is all about bringing the painting the furthest way possible. The canvas must be located as far as possible, on the very horizon, at the limits of comprehension. These are the walls of the world, and you are there to work on them like a worker, to touch their surface, to patch up the holes, to polish the unevenness; the fact itself that the painting is so distant, and still you have managed to reach it – will deliver a shocking picture. I always my panel or my canvas at the very end, on the border as distant as my comprehension can reach. On the border of the world. /Piotr Potworowski

The beauty is in your mind

“My granddaughter was about 11 years old and she was in Agnes’ apartment and there was a rose in a vase and she was mesmerized by the rose. And Agnes saw that and picked up the rose and said, “Is this rose beautiful, Isobel?” And Isobel said, “Yes, this rose is beautiful.” And then Agnes put the rose behind her back and she asked Isobel, “Is the rose still beautiful?” and Isobel said, “Yes, the rose is still beautiful”, and Agnes said, “You see, the beauty is not in the rose, the beauty is in your mind.” – Agnes Martin

Does everything aim for geometry?

Geometric abstract art? Looking back at my artworks I often notice their two disparate directions. One of them focuses on organizing and simplification while the other one delves into decomposition and complexity. I wonder where does the constant tendency of geometrizing, as well as the yearning for the freedom of gesture, come from. Perhaps it is worth taking advantage of this dualism and combining these contradictory ways of expression?