2012.08.18 – 2012.09.23

A painting is created within me as a result of many phenomena and ponderings; it’s first of all a reflection, inspired by the issues of time, art and the events of life, born suddenly and maturing until it materialises. When I start painting, I do not know the final shape, because the ideas crystallize in the long process of painting. Message, idea, the content of a work change, very often ending up distant from the original intention.
In the process of creating an object of painting there is also enough space for a lot of improvisation. I trust in creative power of coincidence. Unpredictable end result in my understanding should be the ultimate sense, because everything around it makes sense. Everything is a constant movement and a symbol of some necessities.
My painting is an attempt to locate my own world on the verge between reflection and logic, on the verge of a volatile moment and ultimate meaning. A painting is a record of a moment.
In painting, I look for meaning and order. I am convinced that it exists.
The architecture of a painting, its internal order, a structural division based on particular numeral relations these are attempts to arrive at the laws responsible for the organisation of the reality. I do my best to make the world of precise numbers and dimensions harmonise with the mysteries of a space, saturated with tension-building lights from various sources: real, as well as unreal.
To paint is to participate in the sacred.
Painting should be a metaphysical proposal, or at least it should border on metaphysics, which is a necessity. I strive to touch it, constructing an image from the simplest elements: planes, lines, geometric figures mostly rectangles and triangles, structures of squares of different density.
The world is not perfect, but to move along the way touching upon the constructions of idealistic philosophy of Plato’s world is fascinating, intriguing, and determines the harmony. Issues of colour, space, light and construction are important to me. Their weight differs in specific paintings. The relations among the elements of a painting are the struggle to give it maximum power. I synthesise in search of majesty, but also of intimacy. But in the painting the most important are the reasons for the existence of image and colour. I would like my paintings to be as simple as possible, and that simplicity determine the strength of the image. I reject, reject, more and more reject, reject what is irrelevant and external, what hampers.
I’m trying to get closer to the asceticism of form and colour, to the Absolute…
The fact that a painting becomes the elegant surface depends only on the form of expression, on ćsthetics. The purpose of painting is not technical virtuosity and perfectionism, but awareness of the painter’s full expression brings their objects to perfection.
In the logical construction of the plane there is the place for spontaneous activities, for expression.
Fragments of recognizable sounds are a pretext for reflections at the level of abstraction, metaphor, or a different language. The individual elements of a picture can function as symbols of certain realities.
My painting work is realised mainly in cycles.
Part of it is closed; other, for specific reasons, are growing.
I search, check, feel unsatisfied, go back. Hence the series of paintings.

Paweł Lewandowski-Palle, SELF-COMMENTARY

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