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Vanishing point. Painting
Poland
Painting, Encaustic Wax on Canvas
Size: 39.4 W x 39.4 H x 2.4 D in
About The Artwork
Vanishing point. While I was working over the series ‘Autoportrait a’retour’ I used the term of synergy. It is the kind of mutual interaction of specyfic elements creating the new meaning of the whole work. Considering my works – deepening and searching the matter’s nature – has started with the issue concerning the residuum. The inseparable element of residuum is its dematerialisation, unification. In my last works I meant to stop this process and show the moment of convergence, which in alchemy is called as coniunctio. This phenomenon evolves in time. The matter is in the continuous motion. Moving from one picture to another, it includes in itself the memory of the previous works. In such a way I got back to ‘Urns’ that were created from the remnants of pictures. However, in my new pictures the matter is regained, merged once more. In ‘Urns’ –throughout their multilayerness – the time is a linearic record, different from that appearing in a synergic picture. The structure here, througout the break-up, builts the other feeling of time – unlinearic and connected with the hyper-space. The picture is no longer the result of perception but it becomes the result of transformations in which an inccident, break-up and compression play the first role. The matter comes under renewed merger. Point, line and plane – these three re-deconstructured elements – become the structure elements of the new reality, functioning on the basis of network in which it is possible to exist on various levels. The space creates a kind of a labyrinth, symbolises the convergence with the cosmos and the fullness. The fullness is a game of meanings in a way. From one side, throughout the long-lasting process of work, unintentionally goes the unification process of the body and the matter experienced. From the other side, throughout the setting of different elements such as: the picture – the circle, full of symbolic meanings; the object – the sphere and the video film about the formation process of work – all together they overlap and complement each other. Here meets the stable and elusive elements, the trace and re-done picture, the full and the complete, the possible and the impossible. It is the picture of the same cosidered from various sides.
Details & Dimensions
Painting:Encaustic Wax on Canvas
Original:One-of-a-kind Artwork
Size:39.4 W x 39.4 H x 2.4 D in
Frame:Not Framed
Ready to Hang:No
Shipping & Returns
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A RETOUR AUTOPORTRAIT text by Urszula Szulakowska Gliszczynski's work is concerned with retrieving memory. He explores the origins of his identity in the psychic and social processes by means of which subjectivity is acquired. He does this through a ritualistic means of pictorial construction in which he attempts to reverse the natural progression of time. His signifying system is derived from alchemical hermeneutics, which is a most unusual venture for a Polish artist. Alchemy is a historical discourse which has been explored more frequently by German or French artists, such as Beuys or Klein. In his laboratory the medieval alchemist practiced an art that was intended to illuminate the psyche of both himself and of his society, transmuting their base natures into a divine consciousness. More specifically, Gliszczynski employs the concept of synergy, derived from the psychologist Carl Jung's interpretation of medieval alchemy as being a proto-psychology. According to Jung, unrelated events occur simultaneously in trajectories parallel to each other, but to the human mind they appear to inter-act, often with very strange results. This process seems to be a magical one, since natural laws of cause and effect are contradicted. The ancient magical practices, such as alchemy derived their knowledge from the intuitive processes of the human psyche. Glyszczynski's practice could be described as liminal, exploring the border between material and immaterial states of being. There is some inheritance in his thought from the late nineteenth century Symbolists, especially Edvard Munch for whom life was a fragile membrane, disrupted by the malevolent irruptions of desire, sickness and death. Gliszczynski's early encounter with Munch was fundamental to his formative process as an artist since Munch's paintings underlined his own realisation of the finality of death; the shock encounter with the void and the dull permanency of loss, grief and suffering. This realisation led Gliszczynski to an existential enquiry into the origins of his own finite nature, such as is reflected in his recent series of self-portraits. These works express a tentative possibility that in art and history, as in dreams, in a meta-space beyond gross physicality, loss may be conquered. The dead can live again. His art-practice is an emblematic process reflecting the human life around him.
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