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temporary exhibiton

SCULPTURE/Krzysztof Ostrzeszewicz

Artist: Krzysztof Ostrzeszewicz

Place: Galeria (-1) Polskiego Komitetu Olimpijskiego

Date: 13.02 - 08.03.2019

Curators: Kama Zboralska i Paulina Świerczyńska

Human body – as an artistic problem perfectly corresponding to the ideas of sculpture – provides an excellent starting point for creation, in which, apart from talent and ingenuity proved at every step, technical skills are equally important. The art of Krzysztof Ostrzeszewicz serves as an example of such enterprise. By using synthetic, simplified forms the artist manages to achieve universalized representation omitting the psychologically deepened content load. These sculptures do not suggest any individuality of the portrayed figure, only the general idea of the depicted object. The artist rejects the details of the model that could indicate a particular individual and at the same time make him abandon the general essence. The figures are generally faceless – save for the times when some of the facial features are outlined in order to enhance expression. The viewer's gaze needs to focus on the form itself, the overall shape, and only then on the detail. An attentive observer will notice that despite the modesty of formal means, certain fragments remain refined – they are symbols, signs suggesting the correct interpretation of likeness, such as Lady Macbeth's raised hands or Persephone's bouquet of poppies. The sculpture "Motherhood" is also an example of very careful handling of the detail. Virtually all female characteristics, such as breasts and facial features, are merely suggested. Both figures – the mother and the child – are closely joined to each other creating a compact form, distinctly emphasizing the concept of motherhood. The solid itself is a symbol here. Similarly, in the case of "Pregnant", a strongly accented part of the belly emerges from the scheme of proportions of the female figure. Krzysztof Ostrzeszewicz's art is full of cultural references and the characters themselves most often come from myths or the Bible. At the present time, it takes courage not only to move so boldly in the world of figuration, but, subversively, also in the subject of traditional depictions. The consequence of this courage in the case of Ostrzeszewicz's sculptures is an attainment of a contemporary commentary on such traditional forms and themes. His art exemplifies the fact that one can develop their original artistic activity, which can be a continuation of the canon of beauty known since antiquity, and processing traditional models while searching for innovative forms of expression. Krzysztof Ostrzeszewicz is not afraid to reach for topics in which his predecessors spoke so willingly, consciously engaging in this artistic dialogue of generations. His attitude towards creation shows respect for his predecessors – often renowned masters – but also the passion for doing something in spite of authorities, revelation of an individual element – not to question the achievements of past, but to show that there is still room for originality in figurative art. Paulina Świerczyńska