20161227 Artwork

Tomash Fugiel work uses modern digital painting techniques in a conscious way. Abstract, untitled compositions open to interpretation, a network of associations conditioned by personal tastes, aesthetic preferences, but also diverse cultural associations. These cultural associations seem to be intended by the Artist, and most interesting in reading his works. The impression of harmony that his works bring is overwhelming. The central composition, the vertical axis of symmetry, the stable mathematical proportions provide order; repetitive elements (circles, ellipses, smooth arches, squares) – lend rhythm. This impression is enhanced by the color organization of the composition: clean, fresh coloring; monochrome background, qualitatively varied in most of the works, „illuminated” – directs the eye toward the center. Light, brilliance, claritas – the medieval synonym of beauty, the platonic sign of transcendence through what is given sensually. Matter is darkness, spirit – light, and art should go beyond matter and show the spirit. That which is aesthetic (within the double meaning of this term) is a form of access to what is beyond the surface. Light seems to be of large significance to the artist, as its reflections appear in all the works, also within the composition. This makes the „center” scattered, multiplied, in fact inaccessible. The form of work is loosely reminiscent of the mandala with its complex symbolism: the circle – harmony, perfection, infinity, outwardness and the square – man, earth, the four corners of the world, connected at the central point. Tomash Fugiel reinterpretation breaks the mandala up – we have works with the dominant square structure, others are based on the circle … Jung saw the reflection of our ego in the mandala, the whole of the psyche – here we have an image of the self, whose cohesion has collapsed. In many of his paintings, the Artist breaches the first impression of peace and harmony by densifying, overlapping, multiplying motifs; by means of meandering, organic line, he introduces anxiety into a seemingly simple, clear construction. He deconstructs the concept of center and source, a privileged reference point, giving a visual metaphor of a rhizome.