{"id":766,"date":"2019-06-04T20:15:29","date_gmt":"2019-06-04T18:15:29","guid":{"rendered":"https:\/\/instytutpolski.pl\/budapeszt\/?p=766"},"modified":"2019-06-11T21:42:46","modified_gmt":"2019-06-11T19:42:46","slug":"about-romantic-geometry-and-cosmic-abstraction-2","status":"publish","type":"post","link":"https:\/\/instytutpolski.pl\/budapest\/2019\/06\/04\/about-romantic-geometry-and-cosmic-abstraction-2\/","title":{"rendered":"About romantic geometry and cosmic abstraction"},"content":{"rendered":"\n

Thursday 23 August 2018<\/p>\n\n\n\n

ABOUT ROMANTIC GEOMETRY AND COSMIC ABSTRACTION<\/strong><\/p>\n

On the occassion of the new solo exhibition of \u0141ukasz Patelczyk in Platan Gallery in Budapest we talk with the artist about his technique, inspirations and future plans. In \u2019\u2019The Signs in the Sky\u2019\u2019 Polish painter presents his latest works: he offers a summary of all the issues he has been interested in, over the last few years. As in his most recognized art series he smoothly connects the elements of the romantic landscape with the elements of abstract art.<\/strong><\/p>\n

This time he invites us to read through celestial signs.<\/strong><\/p>\n

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Patrycja Rup: In your artworks realistic depictions of landscapes are distorted by abstractive elements: blurs of color and light, geometric figures and lines, can be said that this strategy became a leitmotif of your paintings. Can you share with us how this creative process began and what was your primal inspiration?<\/strong><\/p>\n

\u0141ukasz Patelczyk: I am mainly interested in the composition and framing. I often search for inspiring landscapes on the internet, I also take pictures of clouds, nocturnes, I love paiting landscapes in which large areas of the canvas are covered by a flat black spot, such as mountains in the image of \u2019\u2019La Montana Sagrada\u2019\u2019. Sometimes while I am just doing something trifling a ready landscape comes to my mind. The next step is when it formes and creates more meaning, somekind of an abstract system. Often at the very beginning it has no greater ideological significance , but over time it turns out that something is behind it, some alluring content, some condensed thought.<\/p>\n

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PR: In your paintings inspired by real photographs you cover certain elements with light fields, you hide\/remove characters and situations, what kind of topics are appealing for you at this level and does this activity reflect only your believes related to artistic problems or you want to convey other political and social statements?<\/strong><\/p>\n

\u0141P: In fact, the actions that I take to create a synthesis of landscape and abstraction gives me the opportunity to smuggle social content or even current political comments in the work. However, I am very far away from describing myself as a person involved in politics. I think my art is about something else. Despite this, I sometimes create works such as the painting \u2019\u2019Landscape after the Battle\u2019\u2019 (2014), in which black abstract forms associated with rugged flags symbolizing the overthrow are implied in antic ruins.<\/p>\n

PR: Which series of your works you find most significant in your artistic career, is there a specific work which you would name crucial?<\/strong><\/p>\n

\u0141P:  One of the most important paintings I\u2019ve created is certainly the work that was made still while I was studying at the Academy of Fine Arts in Gda\u0144sk. This untitled work from 2010 presents a landscape whose central part is covered by a white rectangle in the middle of the image field. A realistic landscape creates a kind of passe-partout for a white empty form. In case of my currently painted series I perceive them all as equivalent. These are not typical series of art works that begin and end and then there is no return to them. For me, it works differently, as I can return to some concepts after, for example, two years. I think that someday I will manage to staple all of these ideas together.<\/p>\n

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PR: What kind of media would you like to use in your future works? Which are most alluring and worth discovering for you?<\/strong><\/p>\n

\u0141P: I have few ideas that have been going through my head for a long time. I would like to create a very large spatial installation made of metal rods and combine it with neon lights to work more with light and scale. Generally I believe that every time I do something new, I learn and discover a lot during this process.<\/p>\n

PR: Can you tell us more about the creation process behind works exhibited in Platan Gallery?<\/strong><\/p>\n

\u0141P: This year at the Centre of Contemporary Art in Toru\u0144 and at BWA  Awangarda Gallery in Wroc\u0142aw, I presented site-specific projects and at first in Platan Gallery, together with the curator Tomek Piars, we thought about applying a similar idea. Finally, considering  the fact that this is my first solo exhibition in Hungary, we decided that it would better to show a series of recent works, but these ones which reflect the impact of my earlier cycles and significant topics that I dealt with in my carreer. July and August are also months of various astronomical phenomena, for example we just experienced the Moon eclipse or falling stars, hence the title of the exhibition \u2019\u2019Signs in the sky\u2019\u2019.<\/p>\n

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PR: Can you name artists or art pieces which significantly influenced your works?<\/strong><\/p>\n

\u0141P: I try to travel a lot and discover as much as possible. I adore romantic painting and sacral painting of the Middle Ages. When I was still living in Gda\u0144sk, I went many times to admire the famous Memling\u2019s \u2019\u2019The Last Judgement\u2019\u2019. Among the artists I appreciate most are Hieronymus Bosch, Casper David Friedrich, considering contemporary artists I need to mention Victor Man and Gerhard Richter.<\/p>\n

PR: What fields you would like to explore in the future? Can you tell us more about your forthcoming projects?<\/strong><\/p>\n

\u0141P: Currently, there are two exhibitions in Wroc\u0142aw in which I participate. \u2019\u2019Nietota\u2019\u2019 at the Wroc\u0142aw Contemporary Museum and the \u2019\u2019Brocken Spectre\u2019\u2019 at the BWA Awangarda Gallery. At the end of the year, \u2019\u2019Nietota\u2019\u2019 will be presented in the Municipal Gallery bwa in Bydgoszcz. I’m also working on new projects that I will show next year.<\/p>\n

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Signs in the sky<\/strong><\/p>\n

Opening: 3 August 2018, 7 PM<\/strong><\/p>\n

On view till 31 August 2018<\/strong><\/p>\n

Platan Gallery, Andr\u00e1ssy Street 32, Budapest <\/p>\n

Artists: \u0141ukasz Patelczyk<\/p>\n

Curator: Tomasz Piars<\/p>\n

Opening speech by Endre Lehel Paksi<\/p>\n

\u0141ukasz Patelczyk \u2013 born in 1986 in Wejherowo, Poland. Graduaded in 2012 from Fine Art Academy in Gda\u0144sk. Participant of numerous solo and group exhibitions.  Laureate of prestigeous competitions in Poland: special prize and scholarship of Hestia Artistic Journey competition in 2011 press prize of the magazine Notes na 6 Tygodni during The 41st Painting Biennale \u2019Bielska Jesie\u0144\u2019 2015.  Finalist of The Geppert’s competition (2011) and Perfectionist – I Internacional Painting Contest Modessqe (2013). In 2016 he was a laureate of the Cultural Scholarship of the City of Gda\u0144sk. His works are in the collection of the National Museum in Gda\u0144sk and in private collections in Poland and abroad.<\/p>\n

http:\/\/lukaszpatelczyk.com\/index.html<\/p>\n

Patrycja Rup – Polish curator & journalist. Lives and works in Budapest. <\/p>\n\n\n\n