Searching for identity. In conversation with Przemysław „Piniak” Piński

Przemysław “Piniak” Piński is the artist of versatile interests who was awarded his diploma at the Faculty of Painting and Drawing at the University of the Arts in Poznań (UAP) under the supervision of Mikołaj Poliński, PhD. Before he took up painting, he had studied design, interior design, fashion and shoemaking crafts. The editorial staff of Contemporary Lynx has appreciated his artistic oeuvre and his diploma project entitled “Fighting sex-related cultural exclusion. Searching for artistic identity in painting experience” during the 41st edition of the Maria Dokowicz Competition for the Best UAP Diploma Project. In our conversation he told us not only about the beginning of his artistic career but also about his inspirations, dreams and numerous plans which he is going to fulfil in the near and more distant future.

Zuzanna Auguścik: When did you first realise that you wanted to be an artist? How did your adventure with artistic university education begin?

Przemysław Piński: I remember a certain situation – I was maybe about four, the grown-ups were watching the news on TV in the living room and I was lying on the floor in the next room with a sheet of A4-sized paper trying to draw a curtain. It turned out to be a demanding tasks because I got a pain in my neck from drawing in this position … and I burst in tears. The adults must have thought that this was due to the uncomfortable position or tiredness, but I was crying because it was the first time I failed as an artist.  At the time, I would tell everyone that I wanted to be a painter. The issue was ignored and ultimately drifted off under the cover of shame and the feeling of not being good enough when compared with others.  I’m trying to analyse the process now because I can see now that those were the beginnings of excessive ambition and twisted rivalry. First, I decided to study design as I was good at inventing original items. I guess I was afraid to study art in its strict sense. Later, I studied landscape design, and finally turned to fashion. My designs and presentations were strictly conceptual and installation-like, and they began moving in that direction in an increasing extent. There came a time when my fashion designs started to divert towards painting. I enrolled on a painting degree course and I stayed there. First the Arts Academy in Szczecin, then the UAP in Poznań. I must admit that it took me a long time to get here. That’s why I enjoy the things that I do. I feel like walking along the main streets of cities I lived in and shout out “I’m a painter!” Universities are strange creations, and I think that it is possible to reach this point of creative work without their involvement. I’ve had a lot of unpleasant experience, but as I said, it would be difficult not be happy about the painting diploma after so many years.

Z.A: In your painting works you take up the issues of cultural exclusion, searching for identity, childhood and its impact on adult life. Why is reflecting on these problems important in your artistic practice? What are the main messages you wish to convey in this work?

P.P: It is fascinating to discover that the issue of exclusion recurs across history. It can be analysed at multiple levels. Globally, where exclusion is an example of a battle between evil and good, or very individually. Getting to know individual figures turns out to be a value in itself. We learn that ninety years ago there was a person who was persecuted for the same reasons we are today. Dealing with these problems and displaying them in an empirical form, like my installations, is my contribution to the fight for equal rights. In my painting, I’m trying to create symbols, figures and artefacts which are emblems and which will ultimately create their own unique code. As if it was a road sign, but speaking of emotions and memories from your courtyard. The signs also say “Hey, straight guy who abused people weaker than you with impunity and just for fun. We will get you!” I have been speaking about my identity intentionally only since I started painting. My journey to numerous memories has turned out to be a strange adventure. Old memories gain another traumatic overtone. I am also new in this sphere and I am learning myself anew. Knowledge allows me to better help others, take part in the building of our liberated community.

Z.A: The aesthetic of your works refers to street art murals from the 1980s, it has a “courtyard” touch. Are there any artists who inspired you the most?

P.P: Yes. It is enjoyable to feel inspired and confirm that there was someone who did something similar before you. It’s very motivating. In 2003, I had a chance to see an installation entitled Blockhead by Paul McCarthy in front of the Tate Modern building in London. A huge inflatable human figure as tall as the entire building. I though “Ah, so it is possible. Sky is the limit”. It is one of the most notable works I’ve seen. I believe monumental sculptures are the most inspiring to me, because they are in opposition to the things I deal with. Apart from McCarthy’s works, I also like Yaoi Kusama or Franz West.

Z.A: If you could cooperate with any artist, alive or dead, who would that be?

P.P: They would mainly be filmmakers. Such cooperation is my dream, because it would be a chance to take part in creating liberated and engaged works like John Waters’s films. I also love Kondratiuk. I’d also like to help people engaged in research work by making documentaries, like the protagonist of the film entitled “The Death and Life of Marsha P. Johnson” Victoria Cruz, who investigated to commemorate Marsha. And also to participate in creating a series about queer families such as Transparent. My dream is to be one of the assistants helping Joanna Ostrowska, who wrote such books as Oni. Homoseksualiści w czasie II wojny światowej [They. Homosexuals during World War II] and Przemilczane [Concealed]. I would search the archives of camps and prisons with her research team. These are all tasks I, as an artist, having said “A“, must do to be able to say “B“. As for the painting and installation world, I would love to give Hockney a high five and pose for him with my buttocks.

 A: What is the most valuable lesson you learned recently? During your time at the university, exploring the painting practice.

P.P.: The most valuable lesson was the fact that the more conversations you hold and function in the university circles, the better, even if it is a niche domain. But as I said earlier, art universities are bizarre places. For example, the Arts Academy in Szczecin has the atmosphere of manufacturing contemporary artists, and you can clearly sense the competitive drive. I wonder if it’s good or bad. It is surely strange, but every situation provides an impulse to discuss it later on with friends from the group, and it shapes us in some way.

I was unfortunate to attend the whole Master’s degree course at the UAP during the lockdown. I’m incredibly impressed by the works of artists from the animation faculty. I even regret not having a chance to come into contact with it. In a word, you need to know where and why you are going. But we usually find this out after we graduate. 

Z.A: Tell us about your plans and projects. What engagements are you planning for the future?

P.P: My plans include further developing my Demons project, a performance composed of mini stories about our everyday obsessions. Its queer protagonist talks about the clash with the reality of Polish families. Every demon has a name –  Screenshot Demon, Pointless Nostalgia Demon and even Nose Drops Demon. New ones keep emerging. The first staging of the project was held at the Nowy Złoty Gallery in March 2022 in Wrocław, and the second one in Poznań-based Pani Domu in September 2022. Describing them is crucial, but it is even more important to meet the public and experience its dynamic response. This makes me open up and share my problems.

Now I am tempted to illustrate the demons in painting. Another project that is growing naturally is the Triangle Toast Contest, an actual culinary competition with categories, jurors and prizes. Joint dining is the reason behind its success. It is organised in art spaces, as it is the surrounding where I function, and it is a grass-roots initiative at the moment. But the participants from outside the art world have been the tremendous success. At those moments, I know that the formula that is pure fun works best. The two editions I managed to run with Gabi Skrzypczak include the event in Dom in Poznań in August and OS17 in Szczecin in November.

We’re looking forward to organising the 2023 Poland-wide Tostmarcin League.

2023 will also mark my debut in a drag show. Provided that I have the courage to enter the debutant stage. Keep your fingers crossed!