No signal 3 Painting

Due to many years of searching and confronting different aesthetics, Kuba Janyst has developed an original way of presenting the actual world. He aims at reflecting its vibrant but overloaded character, its aggressiveness and excess of information. The artist interprets today's world through the prism of data accumulation, information noise and content noise. He captures them in an extremely simple but accurate form. By using the acrylic paint and the edge of scraper he geometricizes and densifies the presented reality. Thanks to that the point of view becomes at the same time a technique, and thus the presented picture turns out to be as important as the creative process itself and the final materiality of the work. In this act resounds a childish joy but also a religious discipline. It also refers in a creative way to the automatization, 3D printing and mechanization. The traditional painting gesture is replaced by an almost artisan poetics that consist of applying subsequent paint fibres, “producing” its bundles and merging them into new matrices of meaning. For Janyst one of the most important aspects of painting is the space that the artist understands and uses on many levels. First, the architectural space, the landscape and the horizon are a common subject of his works. Next, the space around the paintings: the way they are exposed and the perspective from which they are viewed. Finally, the social space and the space of emotions: the way how the images influence the viewer, how they are used be him and what kind of associations they evoke. Such a broad perspective of looking at a piece of art has led Janyst to an interesting and original solutions and formal procedures. Among them the following should be named: the open concept of the work, which the artist “condenses” with the pass of time; the way he “noises” paintings by adding new lines to the previously painted works, and the creative technique itself. In his work Janyst, in a somehow automatic way but also with a particular rhythm and precision, manoeuvres the edge of scraper and the acrylic paint in order to geometricize and to condense the presented reality. Julia Lewandowska Ph.D. in Cultural Studies, Art Curator Faculty of “Artes Liberales”, University of Warsaw