The meaning of works by painter Andrzej Fogtt and sculptor Jarosław Perszko refers to contemporary history, to values that may be found within it and, in its context, to the desire to remember.
According to the artists' beliefs, the sources of remembrance refer to human beings and their existence within the world. Human works, which connect the past and the future like a bridge, are attempts to participate in humanist discourse of art. Both of the creators represent art that is deeply anthropocentric and universal in meaning. A very personal and ambiguous message of the pieces of art inscribes into the universe of culture including historical community of valuation.
Elements of the painting calligraphy in the depicting layer of Andrzej Fogtt's paintings are a particle of pure colour and, as far as the latest projects are concerned, a firm application of thick paint to patches surrounded by contour lines. Both of these create the expressionist aesthetics of the paintings. For example, in the landscapes of the Brda series (2018), the mutual relations of light and colour, spot application of paint and black streaks on some of the works create a shimmering surface of the canvases. The latest paintings in this series (2020-2021) are characterized by the opposition of black, expressive lines that divide the coloured surface and merge with coloured shadows. The idea of "aesthetically described space" is common to these sets of works. On it, black streaks and expressive dark lines strengthen emotions and evoke a feeling of anxiety.
The series of paintings created in 2022 refers directly to the recent events in Ukraine (Bucha – special operation; the abduction of Europa; Saturn). The topic is a pretext for arranging the plans, the colours and their juxtapositions on the canvas as well as for the operation of light which enables the author to achieve stunning tangibility and visuality. Symbolic and metaphorical expression of human-animal figures is emphasized by contours made by paint applied directly from the tube. Aggresive elements and their arrangement in the painting plan make it a kind of analysis of human existence within particular time and space.
Among the rich output of Jarosław Perszko, diversified in terms of ideas and forms, sculptural structures, called by the artist objects, stand out. In his artistic activities, an object is a spatial form, it signalizes the possibility of transfromation and changeability of physical, semantic and emotional elements. This way, the work of art becomes an intellectual challenge and opens the possibilities for various interpretations.
Multiplied Traces (2013) is a set of 16 boards cast in metal. The message assumed by the author results from his belief that history is reading the traces of the past and the trace retained by memory becomes an element of the present. This allows the artist to use an idea shortcut pointing out the problems that are vital to the humanity. The form of an object presented on exhibition is necessary as a carrier of the idea it is supposed to express. The boards of which the work has been created resemble stelas. The signs on their surfaces, brought to abstraction but retaining their semantic power have a symbolic meaning of a relic and their shape and form determine the strength of their expresiveness. They enable the receiver to see a relief on the surface of the board as symbolic and, in a process of meditation, find questions that remit them to the primary matters.
The form of the work entitled Three Graces Dormant (2022) crosses the limits of the object, emphasizes expression and space. A neon picture created of thin glass tubes, a geometric composition of light lines, creates a multi-dimensional arrangement of spaces running towards various directions and having various dimensions. The space of the work and the spatial context of the gallery, its architecture and its object altogether create a particular kind of artistic reality and new meanings of it and of the work. The message carried by the form of illumination drawing opens and multiplies the space making it transparent to the eye. Turning us to dramatic reality hidden behind the forms of the work, it draws our attention to the issue of crossing the limits in art and in life.
Tamara Książek
- FOGTTPERSZKO. Artyści domów stojących w miejscu
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- FOGTTPERSZKO. Artyści domów stojących w miejscu
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- FOGTTPERSZKO. Artyści domów stojących w miejscu
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- FOGTTPERSZKO. Artyści domów stojących w miejscu
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- FOGTTPERSZKO. Artyści domów stojących w miejscu
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- FOGTTPERSZKO. Artyści domów stojących w miejscu
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- FOGTTPERSZKO. Artyści domów stojących w miejscu
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- FOGTTPERSZKO. Artyści domów stojących w miejscu
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- FOGTTPERSZKO. Artyści domów stojących w miejscu
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- FOGTTPERSZKO. Artyści domów stojących w miejscu
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- FOGTTPERSZKO. Artyści domów stojących w miejscu
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- FOGTTPERSZKO. Artyści domów stojących w miejscu
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- FOGTTPERSZKO. Artyści domów stojących w miejscu
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- FOGTTPERSZKO. Artyści domów stojących w miejscu
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FOGTTPERSZKO. Artists of Immoblie Houses
Andrzej Fogtt & Jarosław Perszko
The National Museum in Szczecin – the Museum of Contemporary Art
ul. Staromłyńska 1
October 1st 2022 – January 15th 2023
Vernissage: September 30th 2022, 7.00 P.M.
Curator: Tamara Książek
Cooperation: M. Lewoc, J. Łozowska, M. Chybowska-Butler
Organizer: the National Museum in Szczecin
Sponsor of the National Museum in Szczecin: PKO Bank Polski
