Szanghaj 2 – w dalszym ciągu tajfun, 2018, tusz, cienkopis na papierze (fragment)

The subject that interests me in a special way and makes me constantly look for new solutions in this area is “Time.” Following Heidegger, “I put being in the world at the centre of my art, a world that always evolves over time.” In my reflections on time I transform what is real into what is symbolic; the transition of an object into a synthetic sign becomes a superior goal for me, I use analytical, multi-layered vision.
In the works entitled “Time” I use the cyclic character of time, the successive phases of passing away and rebirth; but finally I choose the linear nature of time, its continuity, changeability and unpredictability.
My “Labyrinths” are ambiguous and magical; in them, I try to find a balance between nature and culture. I am increasingly interested in my own inner time.
“Microcosms” refer to geometry and optical art. Through their light and dynamic effects they touch the infinity of space and time. In these works I play with geometry, I appreciate the moderation and simplicity of the language of geometry; I am, as Rafał Boettner-Łubowski correctly put it, “extremely sensitive to the rich potential of the symbolism of geometry, i.e., among others, symbolic associations that are evoked by primitive geometric figures, such as circle, square, and triangle, and metaphorical suggestions that elementary drawing means can bring with them, namely: a line or a contour.”
In the works entitled “Art or Tricks,” our human time becomes too narrow a concept for me, I confront it with cosmic time, I refer to the problem of memory and forgetfulness.
“Travel notes” consist of works dedicated to specific cities: Ostrava, Shanghai, Beijing, New York; it is a record of the time spent in a specific space, an attempt to capture the specific climate of the place, but filtered through my very personal and subjective gaze.
My works are about time, and my creation takes time; in this way I experience it tangibly, the process of creating the works itself seems as important as the final result.
The precision of my actions does not allow me to accelerate anything, the works take on the character of a “peculiar mandala,” everything flows and grows with its own rhythm full of harmony, concentration and peace. I have a kind of ritual, which includes “happening between,” my personal slowdown of time, introduces me into the state of meditation.
Joanna Imielska
Joanna Imielska was born in Bydgoszcz. In 1983-1988, she studied at the State College of Fine Arts in Poznań (now the University of Art). She received her diploma in the drawing studio of Professor Izabela Gustowska. Since 1989, she has been working at the Poznań University of Art; since 2013, as a full professor, and since 1994, she has been running a drawing studio. From 2002 to 2008, she served as Vice-Dean, and from 2008 to 2016 as Dean of the Faculty of Artistic Education at the University of Arts in Poznań. In the years 1990-1991 and 1997, she was a scholarship holder of the Minister of Culture and Art; and in 2005, of the Minister of Culture. In 2014, she was awarded the “Gloria Artis Medal for Merit of Culture.”
She deals with drawing and painting.
Curator: Elżbieta Kantorek
Beginning: 25.05.2018, 6pm 3 Gdańska St.
End: 22.06.2018

Ważne: Strona wykorzystuje pliki cookies. W ramach naszej witryny stosujemy pliki cookies w celu świadczenia Państwu usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Państwa urządzeniu końcowym. Możecie Państwo dokonać w każdym czasie zmiany ustawień dotyczących cookies. Więcej szczegółów w naszej "Polityce prywatności".