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Budapest: Tomasz Piars
January 12, 2019 - January 25, 2019
‘INEXPRESSIBLE – ON THE SCENT OF UNCONSCIOUS’
“Abstraction allows man to see with his mind what he cannot see physically with his eyes.”
“Inexpressible” aims to presents selection of new paintings delivered by Polish artist Tomasz Piars. Budapest-based painter and curator continues his artistic journey with abstraction while exploring new levels of elusive and imaginative expression. Among his latest works we can see paintings on cardboard with characteristic vivid colors enriched with metallic reflexes. These pieces consistently develop concepts presented in his latest projects dedicated to abstraction (“Black Crystals”, “Liquid spaces”, “Pointing the spatial” 2018). Sharp precise objects, dynamic composition and a bright color palette have become his hallmarks since he abandoned representational art. Piars can be seen as one of the representatives of young Hungarian abstract artists’ wave. Importantly, the term ‘abstract’ made a career in post-war Europe as it was even used synonymously with the term ‘modern art’. This indicates how clearly it stood for the innovation and progress that time. Abstraction, almost excluded from the postmodern art debates is still present worldwide and expands successfully. Numerous Hungarian abstraction exhibition projects serve as an opportunity to analyze current artistic developments in abstract art that point to a renewed implementation of the term and prove unflagging interest in this visual language. Piars in his artistic laboratory applies a wide variety of forms while testing a new artistic situation on each single painting. While he is focused on the discovery process rather than the depiction of familiar objects, through these abstract forms, artist is able to select and place his notions and findings. Quoting abstract painter Nicholas Wilton: “Abstraction, like poetry, does not dictate a clear narrative but rather, quietly offers a fragment, a piece of a mysteriously familiar narrative”. Therefore every piece provokes a questions if it is just an esthetic joy of playing with abstraction or a complex depiction of a unique organized system, which can be unveiled only in non-figurative image.