Monika Chlebek

   Dawid Czycz

   Stefan Gierowski

   Ryszard Grzyb

   Zbigniew Makowski

   Jadwiga Maziarska

   Jaroslaw Modzelewski

   ㄆkasz Stok這sa

   Monika Szwed

   Janusz Tarabula

   Danuta Urbanowicz

   Andrzej Wroblewski

   Jurry Zielinski

   Erwina Ziomkowska

A new species

Wojciech G這gowski


Zderzak Gallery, 6.10 - 14.12.2017

opening 6th October 2017 at 6 p.m.


Enigmatic G這gowski


Wojciech G這gowski is one of the most enigmatic Polish artists. He has lived in Wroc豉w almost all his life. He rarely exhibits his work. After Picture Library in Otwarta Pracownia (Kraków 2005) there was no exhibition for four years; after Ping-pong in Galeria Zderzak (Kraków 2009) he did not have an exhibition for eight years. The poetic imagery of his paintings is enigmatic and is always the same: doll-like figures of women with their hair arranged with a hair curler, mysterious transmitting, receiving and navigational equipment, ceremonial gestures, interiors of workrooms, cabins, time machines. G這gowski is up to his neck in the mythology of his childhood.


The story of the eye


However, what makes his paintings valuable and desirable is their colour spectrum. Cobalts on the borderline of visibility, vivid purples, cool and warm pinks, deep greens, dark browns, emerald reflections and shadows shimmering like Aurora Borealis on Saturn. This is his idiom, this is his out-of this-world universe. G這gowski’s pictures prove that painting is not perceived only by the physical eye, it is not just the question of the visible light waves. There is also a wide spectrum perceived exclusively by the ‘inner eye’ (or whatever one calls it).


Intriguing questions


What do we know about G這gowski? Not much, indeed. We know that he is withdrawn and solitary, that he lives in an old apartment of palace-like depths, that he is unpretentious and avoids public affectation, that he does not seek fame focused entirely on art. What else? An intriguing question. They say he can be seen in the church of Saint Mary on the Sand, where he participates in Tridentine Mass. He is said to be an expert on the art of opera. He is a staunch conservative with a surprising sense of humour. Below you will find the artist’s text written for this exhibition, which gives some idea of his personality.



Wojciech G這gowski `Trams`



Trams number 12, 13 and 20 turned towards Pafawag, number 5 went to Pilczyce, number 3 even further - all the way to Le郾ica. The new streamlined articulated trams had just appeared, at first as numbers 20 and 13, but never 3 and 5, which remained as they had always been, that is normal, square, with manually opened doors and wooden seats.


Among the old trams you could spot even older ones, even more angular it seemed. In these archaic cars between the driver`s back and the passenger compartment there was a division - a sheet of glass of an unusual purple colour. The colour was dark but clear. It came from a different dimension. You could gaze at this cobalt pane and after a moment it seemed that the colour was in motion, it appeared to be liquid, perhaps something was even trying to come to the surface. But then it was time to get off the tram and nothing more happened.



The aim of painting is `an attempt to expose on the film of consciousness the reality of the world hidden in darkness.`


This quote from Malevich, beautiful in itself, is also strangely adequate, although painting resists verbalization like little else. Of course it is poetic language, which is even better, because in poetry words sometimes manage to touch reality. Malevich implies that the reality of the world is hidden in darkness, in unconsciousness, maybe in oblivion. You cannot see the image as long as it is shapeless, clouded, beyond visibility. You need to bring it out, you strive to expose and develop. There are some ‘films of consciousness` sensitive to such images which had remained hidden. One more step and we have a painting, usually canvas, glue, priming coat, paint and finally this most receptive layer, the representation. A very strange thing. It is not simply paint and yet not just immaterial representation. It slips in between this and that, it exists among people, sometimes for ages. It may decay, darken, and again cease to exist.



The attempt to expose on the film of consciousness the reality of the world hidden in darkness.`


The attempt means you take up a challenge and do the work. You explore following some method or without one. The figures in my representative paintings from the Bakelite series act just like this. As we proceed, we look here and there, also back in time which seems to disperse - there are whirls, waves and time clouds. It is only an attempt, there is no guarantee. Sometimes it works, sometimes it does not.











Wojciech G這gowski, Nowy gatunek, 2017, olej na pótnie, 160 x 110 cm