"Painting, Graphic, Ex-libris" Gosia Seweryn's solo-exhibition in "Galeria Ekslibrisu" in Sanok in 2006 |
||||||||
|
She appears for the moment, sometimes personally. Usually as a director, stage designer, even choreographer among the things, which she subtly fills the space of her works with. Figures glide accidentally on the soft paths of Gosia Seweryn's artistic creation. Tired of the flickering of the reality, the observer's eye rests slowing a run down. Gosia's paintings characterize soft silence, distinctness of symbols, as well as their surprising mysteriousness. The first moment, a crown, chess, a moon and a balloon in space are admitted to be the symbols of power, strategy, riddle, and freedom. Associations are obvious but also deceitful. "I am here only for a while"- she seems to speak with Julia Hartwig's words. I am neither a charade nor a chess task, which you can do by matching traditional movements. I am not longer than I want. We follow her flag crown from ex-libris to lithography, through graphic and watercolours. We are looking for the answer to the questions about the desert, the carmine space of the sky. And suddenly, you should let yourself lead astray, adjust to this world forgetting about gravitation, and the hardness of material. Rules-are the Artist's decision. The rest belongs to a visitor, who wandered here straight, say, from a street in Sanok. And so in "Small Antwerp cycles", Dutch tenement-houses, are a little anthropomorphized - closer to the heart, and for sure the author's heart-bend towards it. In "Erotic notes" she defines what is indefinable: contact and coexistence of the male and female elements. Divided by colours, stuck to each other in the absolute necessities, like black and white in the Tao symbolism. In a surprising way, the balloons, hooked on the tense lines and spikes-submissively curved downwards, divide the same space in "Stories in clouds". Yet, the opposition of motives in the cycle of screen-prints "Summer stories" seem to be a game of stereotyped perception of carnality. A woman and a man are caught on the warmed beach in funny nakedness, but without a face, hands or legs - in the unified, symbolical dimension. In that cycle the author reveals her fancy for the motive of square, circle, and cone. Among the freely flowing lines, geometry is a little bit striking. It corresponds with the tense of the lines, binders joining buildings. Was it a mature test of trying to set in order the unbridled imagination? It is hard to decide about the way of interpretation. One thing is common for all of Seweryn's works. The ex-libris and paintings as well as graphical propositions are the original prove for her artistic adulthood, and for richness and experience in observation of unnoticeable links between the man and the world. Despite the fact, that the author seems to be present in this world only for a while.
|
|||||||
|
||||||||
