Watercolours  'Stories in Clouds'












What happens in
the Gosia Seweryn's clouds?


'For me, it is the most beautiful and the most miserable world image at the same time' Saint Exupery 


The meeting with a cycle Stories in clouds gives the opportunity to visit the most bizarre places.

That the sky space, which in its heterogeneity forces you to take a fantastic and abounding journey with many astonishing surprises. The adulthood looses in that world with the need of looking at things with the eyes of a child.

Gosia Seweryn's sky is not "the other world", which exists in the context of the ultimate things, but extremely dynamic world of happy daydreaming among visions of things similar to child toys. But it is not a child who plays with those toys, the Artist does, and - if you accept the game rules proposed by her - the observer of her world, who is rather an adult person. In that situation the elements of children's game start to take meaning of the careless and momentary escape into the world of dreams from the childhood, and also a little bitter longing for it. Colours and tones chosen by the Author are obviously the term of light-heartedness, they remind the sun, and they are cheerful. However, after a while you cannot mistake those colours with the colours of desert.

The cycle diffuses the large amount of motives, which on the one hand live their own life, and on the other, possess singular connotations, but probably, the more important are the net connections between them. Together, they create a group of signs, which intermingle each other, open imagination, arouse emotions despite the seemingly atmosphere of peace.

That universe possesses its own, precise composition and logic. But for that several torn connections, the tension between objects, the balloons carrying houses and castles flying away into unknown space - you could suspect the Author of creating an ideal vision of the imagination world with the features from the Arcadia, filled with safety, which gives the metal arms that are strongly clipping the spheres, lines (the theme of connections refers to Roberto Matty's painting related to New York School, and the wired constructions of crosses on the planets in "Gardener" by Wladyslaw Hasior). There are lots of houses with cheerful, warm shapes, walls, castles, and well-constructed towers. Many of them have crowns on the peaks: someone in this world is watching over our safety, taking care of its stability. The meaningful royal regalia are also visible here - there is a distinction between the king and the queen: crowns, which represent them, indicate gender. It is also the condition of harmony and order persistence of two closely related environments: male and female. Any trace of feminism or the patriarchy suspicions does not break the harmony.

The ensigns, the scarves similar to simultaneous compositions of sacral art of the Middle Ages are also the royal symbols. The ensigns on the towers' peaks testify to the stability and immutability of intense authority.

The universe has its own internal communication. Sometimes the figures communicate with each other almost literally - we can observe for example two planets with buildings on them, with aerials, which are bending towards each other in nearly intimate dialogue.

The motives are joined with bridges, rail tracks are flowing through the building windows, and under the castles' arcades the gigantic ribbons are spreading with no beginning and without end. Their placement and function remind of the tree branches, which behave as on F. Ackermann's paintings.

They are taking part in organizing the omnipresent geometrical order: consists of scarves system, which intersects - creating almost regular tetragonal net. Ellipses, spheres, spirals and circles are all over the place among merging straight lines and sections.

But when we observe those connections, it appears that the lines and metal rods are tense, they are heavily loaded with keeping the world as a whole. Some of them have not given up that huge pressure of world's mass so far, but on many graphics you can see the above-mentioned broken strings of balloons flowing away into a deep space. Castle and bridge's strong walls are settled on a number of balloons with loosely hanging strings. 

In the amazing system of various figures we can suddenly perceive this paradox: how is it possible that this firm edifice can exist on the airy row of balloons? Maybe in contrast to monumental building the lightness appears here in all of her mighty power? Or maybe it is the main rule for the existence of the material world built with strong arms of the material world? Without support of the woman's finesse, a man loses the power of creating or the motivation of building his palaces or fortresses. The same paradox can substantiate the logic of  "placing" the buildings of dimensions incomparable with planets, which they were placed on.

The Background for this space theatre is filled with spirals and circles, making an impression of incessant movement, dynamic pulsation setting the air in flutter. The ensigns are fluttering, the balloons are flying away dragging the broken lines - as if the sudden gusts of wind would like to burst the subtly woven composition. Spirals' rings are carrying away the crowns, separating them with dramatic speed and moving them into the unknown abyss.

Also the colours seemingly build the cheerful picture of this galactic. The colour of sand, golden crowns, orange ground (or the sky - sometimes it is hard to tell). But there is the dynamics in that colour system, which does not allow for stopping the sight at the bottom and telling exactly, that the ground is right here and the sky is above. They are often clearly separated, the colours intermingle only in some places. On the most of paintings, the sky and the ground are replaced by circles and spiral colours, a play of yellow and orange transforming into red and a little gloomy brown.

From the image of a couple of planets with stumps of cut trees the sadness of lost and lapse appears, the dry scenery is devoid of plants and sets us in dejection. There are no people or nature elements there. The objects function for themselves. Maybe they are waiting for an observer, whom that whole universe - playground is prepared for.

Maybe it is a place for a tired wanderer, tired of worries and problems, which surpass him too often. Let those stories happen in clouds, in the world of imagination, where no one cries over a balloon flying away. Nothing is for real here.

Mariola Konieczna


      exhibition in Warsaw, Poland  (2006)
      exhibition in SANOK, Poland  (2006)
      exhibition in GELDROP, Holland  (2005)
      exhibition in  ANTWERP,  Belgium  (2003)
      exhibition in  CZĘSTOCHOWA,  Poland  (2003)
      exhibition in  AACHEN,  Germany  (2002)
      exhibition in  GLIWICE,  Poland  (2002)
      exhibition I  in  KATOWICE, Poland  (2001)
      exhibition II in  KATOWICE, Poland  (2001)
      exhibition in  GLIWICE, Poland  (2001)
      exhibition in  ANTWERP, Belgium (2001)

      exhibition in  LAAKDAL, Belgium  (2001)
     exhibition in  LIER, Belgium  (2000)
  exhibition in Antwerp-Deurne, Belgium  (2000)
      exhibition in TARNÓW, Poland  (1998)