Prev
Path Off Highway 1, 2009

Amanda Boe

Every week we feature a series of one selected artist who was published in our printed magazine. This person is blogging during that time.

Igor Omulecki

Igor Omulecki – Waveherd – 3rd part of Family Triptych (2010-2013)

Waveherd is the final instalment of the Family Triptych, which Igor Omulecki has created over the last five years. The other two parts are Lucy and It. The triptych has been directly informed by the artists private life, at a time when he and his wife are expecting their first child. The symbiotic relationship between life and work the growing up of ones kids, ones relationships with one’s spouse, parents is constantly present in the triad, and one should actually say that it is its bilateral character that inspired the work in the first place. However, the Triptych is not a chronicle of the vivisection of a family’s everyday life. Despite using photography whose exhibitionist potential is well known this is not a story about privacy and access to it. The possibility disappears from our sight very quickly.

(Excerpt from the text by Jakub Śwircz)

Igor Omulecki – Profile

Omulecki-portrait

born 1973

His creative undertaking span photographic para-documentary, sound art, conceptual art and experimental film. The works created in the recent years relate to nature, family and analysis of structures. Graduate of the Łódź Film School, lecturer at the Academy of Photography in Warsaw. His works have been exhibited at such venues as the Barbican in London, The Centre for Contemporary Art in Tel Aviv, Matadero in  Madrid or the Museum of Contemporary Art in Warsaw. The artist is represented by Le Guern gallery in Warsaw. Lives and works in Falenica.

Igor Omulecki – Guest-Posts

Filip Berendt – EVERY SINGLE CRASH

December 18th, 2014Author: Igor Omulecki

Hi everybody, I am glad to have this opportunity to be the guest blogger this week! I`d like to start with »Every single crash«, a work of my Polish colleague Filip Berendt.

Every Single Crash is a combination of sharp, aggressive colours, shapes and luminous splinters, made during the artist’s residence at the Taipei Artist’s Villages. Yet, the project does not owe its character merely to the exotic appeal of the Asian destination. Berendt’s works are, above all, studies on the process of colour absorption. The dominant feature of the compositions is their objectlessness. Our attention is grabbed by lines – vertical and horizontal. The photos follow a scheme based on structured colour sets and simple geometrical forms. Figuration has been replaced with a pure aesthetic image. What matters enormously in Berendt’s works is the “situation of impression”. His analogue abstraction betrays a dynamic nature. The viewers are in for a whole lot of stimuli and links at the crossroads of vents. Thus, they find themselves entangled in a space between the rationalised sharp-sightedness and short-sightedness. The aggressive folding of the photographs’ flat surface achieved through its collision with colour first distracts the eye in order to allow it to focus the next moment. What matters less is the pleasure of shapes or obsessive concentration on a given element, which yield priority to the sheer process of soaking the colour.

(Text: Piotr Drewko)