Sławomir Pawszak

BORN 1984, Warszawa

Pawszak’s painting is anti-narrational. He avoids telling stories, concentrating instead on one or several details. At the same time, his works aren’t abstract – the gestures, colour relationships, compositions of forms, have a very specific meaning. At the centre of the artist’s attention is quite simply painting itself. Pawszak is also an author of videos and installations, such as models of places important to him. He is a graduate of the Warsaw Academy of Fine Arts, with a degree in Prof. Leon Tarasewicz’s painting studio. His work has been displayed at the NADA Art Fair in Miami.

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Sławomir Pawszak

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2008 / oil, canvas / 110 x 150 cm / no. 0098 Creative CommonsCreative CommonsCreative Commons Licence 3.0 1/ 2 Wróć
Description

“Sławek Pawszak has set himself an ambitious goal: to do something new in painting, or at least to refresh the situation, clean up the field of discourse, to free it from the entanglements and contexts it has acquired to the extent that, according to the artist, it can no longer be seen,” writes Stach Szabłowski about Pawszak’s work. In his practice, Pawszak limits himself to a fragment, a sample, of reality. He argues that often only a fragment is a true pretext for starting a piece; convention is the only reason why it later acquires other, redundant, elements.

untitled
This image, entitled Sharing Creative Works, by Creative Commons is licensed under a Creative Commons Attribution 3.0 Unported License.

Sławomir Pawszak

untitled

2008 / oil, canvas / 110 x 150 cm / no. 0099 Creative CommonsCreative CommonsCreative Commons Licence 3.0 2/ 2 Wróć
Description

“I wouldn’t like anyone to try and identify the fragments I paint because all of my work is about showing that reality is made up of, let’s say, abstract forms that merge into larger totalities. All my paintings are an encouragement to look at reality from a greater distance, in detachment from what we know about it,” says Pawszak in one interview. His work allows the represented “fragments” to drift in an indefinite white space of the canvases. Rather than trying to guess what the represented details are, the viewer should simply follow the painterliness of the motif.

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