Tomasz Kowalski’s paintings have a universal and timeless quality that comes from his attempt to interpret the incomparable flow of thought, memory and intuition that unites human experience in every time and place. Among his practice is emptiness in the power of light to illuminate and shape our perception of the outside world. What he explores with these paintings is a kind of psychic excavation of light, an excavation of the deep relationship between perception, thought and meaning. This shows what happened in the event of the truth reaches the new theater pasitch near the crèchecœur, which opened during the art of Basel and the rue de beaune in the Rive Gauche district.
Capled in the “Exhibition Site,” the Paintings that are Faded But Unforgettable reveal the symbolic as something made of layers of moving emotions, emotional reactions and temporary returns “The subject can be understood on several levels,” said Kowalski on Wine during the Paris Art Sound. “Excavation reveals the important passage of time, it is visible where it meets the soil in the parts of the earth that have been accumulated over the years.” In person, the artist puts a visible tension in his paintings: A harsh recognition of the existential weight of the couple inspired by Baudelaire
The whole show feels nostalgic for another moment, a time that may never have looked toned but feels healthy and forces today’s flat scroll-and-roll images on the screen. Spread across the three exhibits as chapters and frames and their borders, this exhibition brings the quality of sport that is already present in his work, creating an environment that shows a sense of temporary postponement. He says: “I wanted to give up this idea of being out of time, with some kind of transhistorical discovery, which would evoke a singular / absurd feeling. “I hope you will be taken somewhere else for a while.”
Playing with portals and apertures that open to different dimensions, these dreamlike characters confront the viewer with something unstable and fleeting, no matter how much we try to appreciate them. “People tend to impose grids and divisions, like time,” Kowalski said. “It’s a kind of visual perception where what happens between the second and the next becomes mysterious and fascinating.”
Don’t take the subtle feelings associated with memories as they drag to the back of the mind and fade, Kowalski’s paintings become an exercise in reconciling and reconnecting with saturated images and images as they enter images that can translate this complex replay. What he wants to express is a real awareness of human history not only as a continuous flux but also as a continuous repetition, as many theories of change tend, combined with the Jungeian concept of the repetition of jungyp patterns.
The dynamism and systematicity that define these works surpasses both cubist and future attempts to represent planes of change of perspective and movement over time. Here is a systematic, active and mental system, an attempt to grasp, or a moment, a fluid interplay between object and subject, feeling and emotion and mental interpretation that transforms experience into meaning.
The artist admits that the flow of successive movements can simply shine within the image that remains unstable, a brief arrest of what has already left. The blurring and converging asymmetries in Kowalski’s work emphasize this work of understanding and the inability to fix reality within the strict structures of a rigid time frame or neat art history. “Sometimes I like to see painting as a slow motion film where nothing changes,” he reflects. “This repetition, thinking and sequencing came out of my experience. Maybe they are a broader perspective that sees the patterns I work on.”
In the exhibition in Paris, which closes in just a few days, Kowalski seems to quickly revive the drama in the face of the artist and the presence of the artist similar to the inborn presence of Lautrec, degas or, Balthas (Balthasar Klossowski de Rola). However, his figures often appear as a shattered treasure that struggles to fight back within a culture of rapid understanding that cannot stop these powerful structures from time to time. The look is also amazing, they also remind us that they are still there, sharing the same problems under the acceleration of progress. “There is so much of the past that exists in these three gallery spaces on the Rue de Beaune, all located in a district of small shops and museums where two large galleries are located,” he said. “The third phase, the new gallery space, which was once an antique shop, appears between the two previous spaces, as a celebration in itself. My painting reflects the past.”
This show is already showing a growing awareness that when we encounter the world and interpret it, we inevitably bring our own history and those we find through looking and reading. His work takes an intellectual constant between the immediacy of present emotions and the deep reservoir of intimate and interactive memory that frames any interpretation of our encounter with the world. His later paintings often expand or build on previous ideas, although the starting point is always a weather line, a feeling or a spark of a bullet. At the Center of Owalski Kowalski’s inquiry is more about light and its meaning as a tool and object in our exploration of the world.
Kowalski turns graphically to phenomenology in its original etymological sense, from the Greek Phainomeaning “to bring light,” “To be able to appear” or “to create illumination.” It becomes the mind to see, how following the body works as a living filter that receives and works reality as a changing field where the emotional memories that make up each encounter emerge. “My approach to photography is a reflection of my general perception – everything seems like rays of light, perhaps without meeting the human gaze,” he said.
Where Kowalski captures the cleam of power in the body, especially in its raw and present words, which do not take themselves, the essence of its soul and its creative intent before deception. “I don’t see characters and their surroundings separately, only different hierarchies of standing or moving creatures, differently lit, with different locations.”
“Despite the suddenness and its presentation, it works within a very long historical line, and this type of relationship that arose in the centuries is fascinating,” as the method of repetition of the successive time appears, as the same exchange continues. nostalgia for a moment that passed too quickly. In Kowalski’s hands, emotion, memory and spirituality rise to the archetypal, inhibiting Jung’s deep strata of the psyche and the myzeopoetic Intuede thinkers, where images become portals to the intersecting stories we take as we move through the world over time.
When asked how these paintings explore the endurance of images and how motifs and archetypes appear in all art, he admits that this is part of engaging in a long conversation about painting. “Painting and making pictures is a long conversation. Figurative motifs appear, and there are a certain number of them in culture.” He comes, however, to something more: the essence of which life and truth manifest. “As soon as the light is caught, it can reveal any story,” shows Kowalski, emphasizing that the recent enthusiasm for changing the light, the reading (thinking of the spiritual reading and construction like Fernand Khnopff) in Oskar Sclemmer) in Transhloni As the relationship between light and reality has been redecorated with the continuous progress of screens and technological communication, from the cinema to the mobile phone, everything has changed.
This tension between display, separation, separation and repetition with different emotional and narrative possibilities, enabled by technological devices and screens – for one filter – remains completely dependent on human imagination and creativity. More than reels or any series of broadcasts, most of Kowalski’s works feel like vintage films or proto-cinematic dioramas, living in the realm of algorithms between AI devices but full of infinite imagination.
Lots of art talks
