Polska wersja  | ABOUT FORUM PARTICIPANTS EXHIBITIONS TEXTS PAINTINGS ORGANISERS ART GALLERIES PREVIOUS EDITIONS |
Stanisław Białogłowicz Łukasz Huculak Janusz Kaczmarski Piotr Klugowski Paweł Lewandowski-Palle Magdalena Rabizo-Birek
Mirosława Rochecka Kazimierz Rochecki Aleksandra Simińska Joanna Stasiak Wiesław Szamborski Krzysztof Wachowiak
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EWA URBAŃSKA [...] While analysing the painting of Aleksandra Simińska (and talking to her), I ask myself the question of whether the essence of painting may be described at the same time as the idea and something concrete, with a painting "sign" and symbolic meaning? Maybe this is a superficial contradiction because when we talk -Simińska about something concrete, simplification of an object, figure, space, and me about the idea of things, the rudimentary form of a figure and landscape, we think ... about the same. [...] Aleksandra Simińska, by transforming the objects into painting "signs", creates not only a plastic form but also an individual, personal symbol. According to my understanding, in the case of Simińska's painting, an "idea" is not only a thought structure, something speculative, elusive. It is not "a form separated from matter". This is a concrete and tangible "idea" - expressive painting representation in which the design of an object appeared in a surface of colour, geometric figure. It is bringing the space, object, and figure to the core, crux, essence, "single unit", "inseparable element", nature of things, expressed with a language of painting reality, where main characteristics are: for space - extensiveness, for an object created by a man - a form closest to geometry, for a man - silhouette or amorphous form. [...] A question arises whether a person in a painting of Aleksandra Simińska becomes an object? In comparison to the geomatricalized forms of things, the human image retains the biological features inscribed in a shape similar to a lump of rock or only in a plain silhouette. Deprived of individual features, a man is Everybody and Nobody. His irregularity similar to a rock and cinder is juxtaposed by Simińska to the constructed severe but regular form of an object. [...] In my opinion, the artist, rather than in object and still life, is interested in the "nature of things", which she expresses by constructing space with objects, searching for an object in space, and not in the limiting of the composition of still life, in which mainly the relations between objects - shapes of vessels, fruit, draperies -exist. Maybe the space around us does not become a thing we interfere in or use? Are we still able to feel its power? [...] Aleksandra Simińska is not threatened by her own insignificance in relation to space and although she paints extensive stretches of fields like fertile deserts, the Latin saying "Vivere non necesse est, navigare necesse est" would probably be close to her. In her landscapes, the line of the horizon gives hope that in relation to this greatness - although small, we still stay, exist, live... EWA URBAŃSKA, born in 1965, in Bydgoszcz, historian and art critic (a graduate of History of Art at Warsaw University). Author of about 100 review and catalogue texts concerning mainly Bydgoszcz artists and exhibitions presented in Bydgoszcz. Name: E-mail: Subject: Name: E-mail: Subject: Name: E-mail: Subject:
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The 5th Polish Painting Forum - Orelec 2006