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
   
   ...more

Misfits

ㄆkasz Stok這sa

The publication was accompanying the exhibition    ㄆkasza Stok這sy "Misfits”.

Preface

 

The first thing that will strike the reader is how much there is going on in this book. The figures depicted herein are upset, despairing, proud, sick and dying, ecstatic or tersely anticipating, wounded, or exhausted. And not only the people, the plants as well – they, too, shrink and flourish, shimmer in the gloom, stick the telescopes of their unfurled calyxes out into the unexplored cosmos, wilt and dry up, break, crumble, and fall to the earth. The interiors of Zakopane`s Villa Atma, in turn, are pure voyeurism, verging on spiritism, so saturated are they with the erotic dreams of Karol Szymanowski – or more accurately, with the absence of the great composer. It is this absence that makes sensual fetishes, true mediumistic objects, out of the memorabilia he left behind. In Stok這sa`s pictures Atma dreams of boys, submissive and all-too-corporeal, with scar tissue on their wrists. Atma is lovesick, it is capricious and unpredictable, yet as gorgeous as Stanis豉w in his consumptive death throes. This literary character from Jaros豉w Iwaszkiewicz`s short story personifies a double suffering: a perpetual separation and an approach that becomes more impossible with every step forward.

 

All of these literary strands and cultural motifs are quite familiar. When we throw in decadence and the gran teatro del mundo topos depicted in two versions of Teatro La Fenice interiors, we have a full deck for playing a round of “ㄆkasz Stok這sa,” though we have yet to learn much about his paintings. The painter’s repertoire of motifs came early in his career, but his painting has developed slowly, systematically perfecting his means of expression.

 

Stok這sa is a virtuoso – he lays his paint on thin, painting lightly, as if reluctantly, keeping an easy control over the composition. He uses smudging, scratching, and splotches as in watercolors, he can obliterate a picture`s legibility with a few broad stokes, introducing a structure that goes quite beyond natural expectation, depicting, for instance, scattered wilted lilies in a random pattern or a motif that verges on, but never fully becomes illegible. With a few brushstrokes he suggests the physicality and structure of fabric or an object`s glistening edges, and his technique is only improving. It suffices to compare the cherry blossoms of 2009 with the rose lilies of 2017, or Charlotte Rampling`s veil of 2010 with Nicole Kidman`s veil of 2017. It seems he can extract what he pleases from the natural gloom that these objects inhabit, but he only teases them out, leaving more and more to the sinful imagination of the viewer, who is left to fill things in further and further, until, stimulated and lured within, he assembles things itself… His Villa Atma is a play of shadow and light, both whimsical and grave, like in the picture on the composer`s desk, where everything is plunged in gloom and the eye must make an effort to differentiate things and make them out, to adjust to the lighting and fill in the picture – and then it receives a reward. Stok這sa likes colors that are sophisticated and seldom used, and subtle harmonies; in this respect his pictures might be compared to the old masters. Burgundy, deep purple, Lazarus blue, emerald, Labrador gray, and an aquatic topaz green all charm the eye from time to time.

 

The viewer`s reward might be summed up in two sentences: possession is never total, and illusion is everywhere. The figures of Stanis豉w and Sara are its symbols at the Misfits exhibition. The portrait of the young Olgierd ㄆkaszewicz, brilliant as Stanis豉w in Andrzej Wajda`s The Birch Wood, is Karol Szymanowski`s alter ego. The portrait of Meryl Streep as Sara Woodruff in Karel Reisz`s The French Lieutenant`s Woman is the alter ego of Anna, the film`s other protagonist in the present – yet the artist omitted the other character`s name from the picture’s title, as though she didn`t exist.

 

Krakow, 19 February 2017

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Collector`s catalogue with autograph of Artist (first page)
format 28 x 23 cm, 54 strony, oprawa broszurowa
nak豉d 40 egz. + 2 e/a numerowane i sygnowane
Rok: 2017
ISBN 978-83-87279-74-5
Cena/price - 100 z
   

 

 

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