SYNthesis&enERGY.catalogue from the exhibition in Wozownia Gallery in Toruń/P...Krzysztof Gliszczyński
Synergic Circulation of Matter:
Krzysztof Gliszczyński's Work as Sensual Occurring
The work of Krzysztof Gliszczyński is an everlasting process of circulation of the painting matter. With time, the process has become increasingly more trans-medial; after all, the artist uses the potential of video, he crafts objectsand installations, and yet he still remains within painting, doing justice to it1. The phenomenon of synergy, mentioned in the title of the artist's solo exhibition at the Wozownia Art Gallery in Toruń, manifests itself not only in each of the artworks separately but also in the sense of using the particular media compatibly. A cosmos is born in which every single particle of paint has its own place – from application on canvas, through scraping, until being laid on a surface once more or being attentively placed in an “Urn”– such is the circulation within this artistic universe. I'd even say that, via his output, Gliszczyński clearly confirms the paradoxical thesis proposed by Stephen Melville, who claimed that the more distant painting shall become towards itself, the more faithful it will remain to its own nature. Whereas Jean-François Lyotard indicates:“Painting shall be good (it will attain its goal, approximate it) if it obliges a viewer to pose the question about how it works.”2 Both of the above-mentioned postulates are brought by Gliszczyński into play quite acutely. The artist focuses on the matter, the color, the paints and containers in which he keeps tints, as well as on the very process of painting and documenting the particular stages of a given work's development. Thus, the process becomes as important as its final outcome: a painting created in accordance with the secrets of Gliszczyński's own
technique elaborated throughout the years, which is based on encaustic painting, frequently supplemented with marble powder. Facing these pieces of art, we cannot stop asking how does painting work and based on what principles does its self-analytical mode operate? Marta Smolińska
SYNthesis&enERGY.catalogue from the exhibition in Wozownia Gallery in Toruń/P...Krzysztof Gliszczyński
Synergic Circulation of Matter:
Krzysztof Gliszczyński's Work as Sensual Occurring
The work of Krzysztof Gliszczyński is an everlasting process of circulation of the painting matter. With time, the process has become increasingly more trans-medial; after all, the artist uses the potential of video, he crafts objectsand installations, and yet he still remains within painting, doing justice to it1. The phenomenon of synergy, mentioned in the title of the artist's solo exhibition at the Wozownia Art Gallery in Toruń, manifests itself not only in each of the artworks separately but also in the sense of using the particular media compatibly. A cosmos is born in which every single particle of paint has its own place – from application on canvas, through scraping, until being laid on a surface once more or being attentively placed in an “Urn”– such is the circulation within this artistic universe. I'd even say that, via his output, Gliszczyński clearly confirms the paradoxical thesis proposed by Stephen Melville, who claimed that the more distant painting shall become towards itself, the more faithful it will remain to its own nature. Whereas Jean-François Lyotard indicates:“Painting shall be good (it will attain its goal, approximate it) if it obliges a viewer to pose the question about how it works.”2 Both of the above-mentioned postulates are brought by Gliszczyński into play quite acutely. The artist focuses on the matter, the color, the paints and containers in which he keeps tints, as well as on the very process of painting and documenting the particular stages of a given work's development. Thus, the process becomes as important as its final outcome: a painting created in accordance with the secrets of Gliszczyński's own
technique elaborated throughout the years, which is based on encaustic painting, frequently supplemented with marble powder. Facing these pieces of art, we cannot stop asking how does painting work and based on what principles does its self-analytical mode operate? Marta Smolińska
