Being able to simply turn on TV or social media to see the coverage of various ongoing conflicts, wars, and disasters doesn’t equal usreflecting on the suffering of people in remote parts of the world on a daily basis. Igor Dobrowolski does not only reflect on it but also makes art that speaks of suffering. He keeps creating, although, as he states himself, he would prefer not to or pass it over to someone else – for this suffering to vanish. However, owing to his sensibility, he also finds himself drawn to this aspect of human existence, with the occupied Gaza being the situation the artist is particularly moved by.
Artist in the face of suffering
The exhibition Z wyrazami współczucia (With deepest sympathy) at the Wallspace Gallery and Cliché Gallery in Warsaw presents the works created this year – paintings, sculptures, and installations. While painting, Dobrowolski uses a variety of methods, oil paints, pastels, or crayons. Upon closer inspection, one might see sown-in wound-like tears on some of the paintings. Sculptures and installations utilise polished bronze, cement, wood, and plastic. It is clear that Dobrowolski is not afraid to combine different techniques to achieve an intended result.
The paintings depict faces and silhouettes of people, sometimes shown only in fragments. The elements in black and white contrast with those in bright colours, at times, reminiscent of children’s drawings. Titles, such as Dobra zabawa (Good Fun), Bardzo moralne dusze (Very Moral Souls), and To skomplikowane (It’s Complicated), never fully reveal what a given piece is really about, yet one can clearly discern an intense tension and emotions expressed by streaks of paint, contrasting colours, or dynamically shaped texture.
Apart from paintings, the exhibition features sculptures at the intersection of two disciplines. Agresja między nimi (Aggression Between Them) and Akt 3 (Act 3) are organically-shaped spatial works that look like twisted branches. Made from polished bronze, they catch a viewer’s eye with the shimmering surface, while their shapes seem rather disturbing due to sharp endings that bring to mind claws ready for an attack. Whereas the reliefs with their partially shiny and smooth surface like a mirror accompanied by protruding and damaged fragments are linked to the artist’s “tyrannical side”, as he admits himself. A common subject among this variety of techniques and forms of expression is suffering.
In addition to the social issues, a political aspect is also to be considered. Dobrowolski’s works deal with a very specific situation, namely the Israeli-Palestinian conflict in the Gaza Strip. The artist points out that this conflict is the most documented in history with the widely accessible video footage , yet this situation has been persisting for too long. Not only do the regular citizens avert their eyes, but so do politicians who are overtly tardy in their actions. Dobrowolski feels strongly that it is his mission to publicise the plight of people in Gaza whose lives are put at risk daily, who don’t even know if they or their loved ones will live to see another day. In this context, the artist himself has so much – house, food, electricity, loving family – that he feels obliged to speak out about the scale of the suffering the others have to endure.
The themes explored by Dobrowolski in his work carry a certain amount of risk. “I am aware of the powerful forces we are fighting against”, says the artist. “But I know what is right and what is wrong, I know what I should do, although I have plenty of excuses not to do it. Yet I close my eyes and do it anyway”.
During the performance, Dobrowolski showed and experienced the suffering – although, as opposed to the Gaza citizens, he could have put a stop to it at any moment and returned to the safety of his home.
For Dobrowolski, it is crucial to draw attention to this tragedy happening right before our eyes. His great commitment to the cause manifests itself both in the pieces included in the exhibition and other activities, such as the performance in Auschwitz, where the artist stood with the sign accusing Israel of genocide, or lonely protests in front of the Israeli embassy. During the exhibition opening in the Cliche Gallery, the artist did the performance where he was kneeling – blindfolded, with his face covered and hands bound – on the concrete floor next to child-sized shrouds and could not move for hours, just like the Palestinians in countless videos shared online. During the performance, Dobrowolski showed and experienced the suffering – although, as opposed to the Gaza citizens, he could have put a stop to it at any moment and returned to the safety of his home.
The artist tackles the subject deemed controversial as, in the face of various correlations in which the media is currently entangled, art might seem like the only space for freedom. His art is also risky in the sense that more people might be moved by the boldness of the artist who reclaims the meaning and significance of the term “engaged art”.
Those people are still alive
As people, we have developed myriad mechanisms that allow us not to see any suffering. One might even wonder if it’s possible to constantly notice and experience the suffering of others. Dobrowolski tackles the subject of this conflict because those people are still alive, and we can do something about it, while the public media doesn’t show or discuss much.
This could raise the question about the role of art and the artist. Does the artistic practice, often associated with beauty, have to be such to move people? Can modern art be genuinely moving? Through his work, Dobrowolski shows that beauty does not necessarily determine the merit of a work of art.
In the context of depictions of war and suffering, the series The Disasters of War by Francisco Goya is mentioned most often. After all, it is the most famous, though not the only, series on the subject. Many artists, especially those who have witnessed the atrocities of war, tried to deal with those themes, which is far from easy. On the one hand, Dobrowolski is not a direct witness of the suffering he portrays, on the other, the amount of recordings and photographs available today allows one to almost participate in those events.
We cannot stay indifferent
What is the goal of Dobrowolski’s practice? Does the artist have the power to exert pressure on the lawmakers? What can we do as individuals? Dobrowolski believes that all social change starts with regular people. His efforts involve spreading information – the worst thing is to do nothing and say everything is complicated. Despite difficulties, many people still take action, help those who suffer or try to put pressure on politicians. The artist asks viewers to question their attitudes, makes them think not just about the suffering of others but also about their own morality and reactions. His paintings are reflections on the suffering and indifference of the modern world. Even the title of the exhibition itself – Z wyrazami współczucia (With Deepest Sympathy) – might be interpreted as an exhortation to empathise with those who suffer. However, these words are repeated so often that they lose meaning, becoming an empty platitude to replace real action.
Igor Dobrowolski approaches the creation of art with great awareness. He is not afraid to touch on difficult subjects related to contemporary events as well as political or social affairs. Through his art, he speaks about the most harrowing aspects of human existence while carrying the message of a need for compassion. One of the displayed pieces is titled 11 przykazanie, wbij sobie to do głowy (11th Commandment, Get This Into Your Head). According to Dobrowolski, it says that you shall not remain indifferent.
The exhibition titled Z wyrazami współczucia (With deepest sympathy) is on view at the Wallspace Gallery and Cliché Gallery in Warsaw until 16 November 2024.
The article was created in partnership with Wallspace Gallery.
