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Turin: Paweł Wąsowski
March 7, 2019 - April 14, 2019
Birth of the star II, acrylic on canvas, 100 x 100 cm (detail)
‘MY HOMAGE TO THE SQUARE’
The square is a frequent compositional form in a variety of media. Its brilliance is most felt in balance and symmetrical dissection of the field. Clearly, over time, the square has been used as a basic form in the art of many a genius, including Malevich, Mondrian and a number of others.
Key to the art of Paweł M. Wąsowski is the Bauhaus tradition in art and architecture with its laconic language and simple splits of form and field. In a sense, Wąsowski can be considered a 21st century-follower of geometric abstractionism. The artist admits to being a connoisseur and admirer of the Bauhaus school and its founding fathers, especially the expert hand of Joseph Albers and the colour theory of Johannes Itten. Both these masters have indirectly lent Wąsowski some of their unique vision and style. Among his opart mentors, Wąsowski mentions Julian Stanczak, Richard Anuszkiewicz, Bridget Riley, etc. As we take a general look at the artist’s body of work, we are faced with one inevitable conclusion: regular exposure to present-day artforms makes it somewhat hard to develop a completely unique style which would in no way or form repeat one’s predecessors, especially if this exposure is mindful and profound. Wąsowski works in a purplish-pink colour scheme, creating dotted patterns that resemble depictions of ancient musical melodies or wavelengths. This way, Wąsowski spins a tale about colour in which discrete, carefully placed geometrical points create fluid transitions in the overall composition. In the artist’s own words, he uses only pure specks of colour.
The purpose of art is to stream and to talk, to inspire reflection in the artist and the viewership. This fundamental truth appears in Wąsowski’s work as homage to the square and colour. What is more, the artist goes even further and deeper. He weaves colours within the square in a manner so organic, contrasting and dynamic that he ends up creating specimens of opart, conjuring up a fleeting impression of a spinning motion and instilling the square with the properties of a levitating mandala.