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“Oiling II” is a study of the act of oiling. Objects needed to perform  the eponymous activity are taken out of the painting onto a vivid, contrasting background. This part of the canvas is clearly inspired by pop-art. The “proper” part of the painting, however, is dominated by the situational realism. The artist is not afraid of banal, physical literalness of objects such as chopping board or rubber glove and puts a textile cloth into natural, contemplative motion. The character, whose gender is not revealed, performs a regular act of oiling, being fully aware that it protects the board from moist and dirt while significantly prolonging its life. The soothing movement of the cloth encourages reflection on passing time, repetitiveness and regularity of processes. The tricky title –“Oiling II” (“Oiling I” has never been created) highlights the fact that the oiling is not a one-off activity and needs to be performed once again after 24 hours to fully protect the wood. We are therefore witnessing the second, recurrent chopping board oiling, giving us a feeling of déjà vu.
“Oiling II” is a study of the act of oiling. Objects needed to perform  the eponymous activity are taken out of the painting onto a vivid, contrasting background. This part of the canvas is clearly inspired by pop-art. The “proper” part of the painting, however, is dominated by the situational realism. The artist is not afraid of banal, physical literalness of objects such as chopping board or rubber glove and puts a textile cloth into natural, contemplative motion. The character, whose gender is not revealed, performs a regular act of oiling, being fully aware that it protects the board from moist and dirt while significantly prolonging its life. The soothing movement of the cloth encourages reflection on passing time, repetitiveness and regularity of processes. The tricky title –“Oiling II” (“Oiling I” has never been created) highlights the fact that the oiling is not a one-off activity and needs to be performed once again after 24 hours to fully protect the wood. We are therefore witnessing the second, recurrent chopping board oiling, giving us a feeling of déjà vu.
“Oiling II” is a study of the act of oiling. Objects needed to perform  the eponymous activity are taken out of the painting onto a vivid, contrasting background. This part of the canvas is clearly inspired by pop-art. The “proper” part of the painting, however, is dominated by the situational realism. The artist is not afraid of banal, physical literalness of objects such as chopping board or rubber glove and puts a textile cloth into natural, contemplative motion. The character, whose gender is not revealed, performs a regular act of oiling, being fully aware that it protects the board from moist and dirt while significantly prolonging its life. The soothing movement of the cloth encourages reflection on passing time, repetitiveness and regularity of processes. The tricky title –“Oiling II” (“Oiling I” has never been created) highlights the fact that the oiling is not a one-off activity and needs to be performed once again after 24 hours to fully protect the wood. We are therefore witnessing the second, recurrent chopping board oiling, giving us a feeling of déjà vu.
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Oiling II Painting

Ewelina Sośniak

Poland

Painting, Oil on Canvas

Size: 43.3 W x 43.3 H x 1 D in

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About The Artwork

“Oiling II” is a study of the act of oiling. Objects needed to perform the eponymous activity are taken out of the painting onto a vivid, contrasting background. This part of the canvas is clearly inspired by pop-art. The “proper” part of the painting, however, is dominated by the situational realism. The artist is not afraid of banal, physical literalness of objects such as chopping board or rubber glove and puts a textile cloth into natural, contemplative motion. The character, whose gender is not revealed, performs a regular act of oiling, being fully aware that it protects the board from moist and dirt while significantly prolonging its life. The soothing movement of the cloth encourages reflection on passing time, repetitiveness and regularity of processes. The tricky title –“Oiling II” (“Oiling I” has never been created) highlights the fact that the oiling is not a one-off activity and needs to be performed once again after 24 hours to fully protect the wood. We are therefore witnessing the second, recurrent chopping board oiling, giving us a feeling of déjà vu.

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:43.3 W x 43.3 H x 1 D in

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Art “(…) is a very human way of making your life nicer. The practice of art isn’t to make a living. It’s to make your soul grow.”, Kurt Vonnegut once said. Art allows me to arrange the reality in my own, uncompromised way. For me, art is a kind of answer to my various needs, however it is not the answer itself. It is rather a continuous question and a comment on times we live in. I associate many functions with art: emotional, communicative, sometimes purely esthetic, therapeutical and particularly important for me, cognitive and descriptive. I feel the need of self expression and creation and art fully enables me both. When I paint, what undoubtedly fascinates me is the color, the matter, the process of creation. Painting is the most familiar way of expression for me, the one through which I can fully and most naturally express myself. Interesting, that painting is a kind of sublimation of motives, loose ideas, faces, landscapes and images you have seen somewhere before. It’s as when I am asked if I know what my mother looks like. Of course I know. What does my dad look like? I can recognize him easily. So can I my sister. But when I am asked to paint them exactly the way I can remember them, I am unable to do that. And when I recall them in my mind, I can see their faces through particular photos, pictures, portraits taken or painted. We have this tendency of remembering through images of great sharpness, with smallest details. Painting also gives such opportunity, an opportunity of both very complex and very individual remembering. Maybe this is the magic of painting that fascinates me so much.

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