Shadow of emptiness Sculpture

Michał Malinowski, born in the 1980s. An artist, self-taught – he likes and must create. His main medium is metal - the raw one, processed only by the steelworks, but also the one affected by time, rusted. In his "wire" works, he uses steel rods to create spatial sketches, rather large wall sculptures, telling everyday situations in a slightly different way. He is fascinated by the human body, its straight lines and curves, gestures, body communication, as well as the human mental condition and its shades in the context of gray reality. His works are sometimes simple freeze-frames of everyday situations, and sometimes deep thoughts on mental states. Sometimes grotesque. He describes the world with the eye of an inquisitive observer, but thanks to the universality of the form of communication, he leaves the viewer space for his own thoughts, and sometimes he only gently reminds of something, using thin lines and leaving the form open, openwork. With his sculptures, he urges to "stop" for a moment to look at seemingly simple situations again, he deals with what arises from the collision of ordinary everyday life with the world of abstraction as a field of expression. There is a lot of geometry in his works - shapes, geometric figures are supposed to simplify, close the form, explain the inexplicable. Thanks to the spatiality of these sculptures/paintings, the aspect of playing with light plays a significant role, because most of the works are created to cast shadows. This play with shadow, which gives the whole a specific character, has different faces, depending on the light used. Malinowski approaches works marked with iron oxide in a completely different way. In a rusty medium, the color (of rust) and its appearance seem to be of great importance. The thematic range, which, however, is connected by a common denominator - time - is considerable. In some works, one can feel the weight of the struggle with matter and the weight resulting from the medium itself. Objects obtained from scrap yards, waste and everyday objects tell certain stories, and intertwined in uniform, often flat spaces (plate sheets), they complete the work. In opposition to this, other works can be light despite the medium, there is a strong sense of organicity, references to the sequence of patterns from the natural world. Raw material rusting is often a controlled event - the process is stopped at the right moment.