At the Manggha Museum of Japanese Art and Technology at the heart of Krakow, one can now take a fascinating journey into the imagined world of the artist Mateusz Kołek. The exhibition Entangled States presents the portraits of three cities, Tokyo, Hong Kong and Krakow, depicting their physical forms and a wealth of associated emotions and experiences. I spoke with Mateusz about his creative process, inspirations and how the travels and experiences of various cultures have influenced his practice.
Zuzana Auguścik: Entangled States, which can be viewed until the 7th of April at the Manggha Museum in Krakow, dives into your own imagination, parallel worlds and realities. Could you please tell us what we can expect to see in this exhibition?
Mateusz Kołek: This exhibition focuses on the portraits of three cities – Tokyo, which is most closely linked with the mission of the Manggha Museum; Hong Kong; and finally, Krakow, which is virtually poles apart from the other two and also the place where I live. These portraits are records of certain moments and situations that for some reason demanded my attention. I thought they were worth sharing. The second narrative is built on this kind of emotional map that draws parallels between the three locations as well as the events from the start of the pandemic. Another layer would be guiding visitors through the section that Przemek Wideł, the curator of the exhibition, and I called the Studio. Here, one could explore my creative process, its technical aspects on top of my inspirations and origins of keen interest in Asia.
ZA: You have collaborated with various magazines and publications as an illustrator, comic book and mural artist. How do these commercial experiences influence your art practice?
MK: I suppose drawing for magazines compelled me to look for ways of telling complex stories with one image. I used urban landscapes that could carry an amalgamation of meanings despite embodying the cliches of everyday reality. It was also an excellent opportunity to hone my skills, which I use today. The difference is that I used to have one or two days to come up with and implement the concept for a brilliant commentary on an article, and now I can let the idea simmer a bit until it takes a specific shape in my mind, and only then start drawing.
ZA: Could you tell us something more about your creative process? How does your typical working day look?
MK: It depends on whether I am in the middle of drawing or getting around to it. The most challenging stage is just convincing yourself that an idea is worth spending a few days on it. If I believe that, the rest usually goes without a hitch. At first, I look for references that would allow me to set the composition and reflect the details of a given scene, often using my photographs, sometimes specific locations on Google Street View or images found through your typical web search. Conveying the realism of a place is important to me. Then comes a quick composition sketch, jumping onto a larger format and more detailed pencil drawing. I focus on detail the most when I am drawing with ink on paper. I scan the finished drawing and paint with colours in the program, trying to approach it as simply as possible – flat spots, few tonal transitions unless I happen to feel like making a reference to the traditional Japanese graphic art from the Edo era. The finished piece is the graphic printed on archival paper.
ZA: In your practice, you create a world where Japan, Hong Kong and Poland intertwine while combining various graphic styles, drawing on multiple cultural backdrops. What inspires you? How did you arrive at your own unique style?
MK: My style is always changing. One day, I want to go minimalist; another, I will dive deep into the detail and approach colour almost like a painter. I guess these changes are not as abrupt now as they used to be several years ago. I have some solid fundamentals regarding the comic book style, traditional Japanese art and pop culture: manga and anime. I studied the history of religious art, which inspired my love of the language of symbols. I like to encrypt certain things with those more patient and inquisitive in mind.
ZA: You live in Krakow, but you also spent a couple of months in Hong Kong and Japan, where you started working on the series Rzeczy, które widziałem, ale nie miałem smartfona (Things I saw, but I didn’t have a smartphone). Could you tell us something more about this project?
MK: I haven’t had a smartphone until recently. I was walking around with an old Nokia. When I was staying in Hong Kong, I often stumbled upon something I wanted to share with others, so I came up with the idea for this series that would stay as close to reality as possible while taking advantage of the fact that it was the drawings, not photographs. This difference allowed me to shift the focal points and bring out the emotions or content I wanted to share. This approach became my second nature to such an extent that I continued the series in Tokyo, ultimately embracing Krakow, which I’ve been ignoring for over twenty years.
ZA: What is your favourite travel destination? How does the experience of different cultures affect your art practice?
MK: Hong Kong has a special place in my heart. I visit this city as often as possible. Japan is a close second. For a while, I’ve enjoyed returning to the places I know rather than popping over to some brand-new spot for a week or two. I appreciate these moments more when I gradually discover more context behind something that I initially found aesthetically appealing or just different from how things are in Europe. The fact that my work has found an audience in Hong Kong and Tokyo gives me a perfect opportunity to confront my perspective with the view of the locals. I can learn more and crave more, which sparks my desire to take a closer look at the city where I live every day.
Entangled States
Europe – Far East Gallery
17.02–7.04.2024
Opening: 16.02.2024, 6:00 pm
Curator: Przemysław Wideł
Exhibition design: Mateusz Kołek, Przemysław Wideł
Coordination: Ewa Mazurkiewicz, Monika Werner
Visual identity: Marta Szmyd
Animations: Studio How & How, XULM (Marcin Surma)
Music: Merry Lamb Lamb, Yum! Laksa
-
“Entangled States. Mateusz Kołek” exhibition, Manggha Museum of Japanese Art and Technology, Europe – Far East Gallery, couretsy of the Museum -
“Entangled States. Mateusz Kołek” exhibition, Manggha Museum of Japanese Art and Technology, Europe – Far East Gallery, couretsy of the Museum -
“Entangled States. Mateusz Kołek” exhibition, Manggha Museum of Japanese Art and Technology, Europe – Far East Gallery, couretsy of the Museum -
“Entangled States. Mateusz Kołek” exhibition, Manggha Museum of Japanese Art and Technology, Europe – Far East Gallery, couretsy of the Museum -
“Entangled States. Mateusz Kołek” exhibition, Manggha Museum of Japanese Art and Technology, Europe – Far East Gallery, couretsy of the Museum -
“Entangled States. Mateusz Kołek” exhibition, Manggha Museum of Japanese Art and Technology, Europe – Far East Gallery, couretsy of the Museum -
“Entangled States. Mateusz Kołek” exhibition, Manggha Museum of Japanese Art and Technology, Europe – Far East Gallery, couretsy of the Museum -
“Entangled States. Mateusz Kołek” exhibition, Manggha Museum of Japanese Art and Technology, Europe – Far East Gallery, couretsy of the Museum
