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/
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 analogue photography stay true to reality. If so, is taking a digital picture really the first step to misrepresenting the facts?
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
“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
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?