untitled, 2012, acrylic on canvas, 130x150cm
2012 " I " - series of paintings <-- click
When J. J. Thomson presented his model of an atom, known affectionately as the raisin cake, for the very first time, no one would ever have expected the groundbreaking consequences of this discovery. Scientists such as Rutherford and Einstein soon followed this with investigations into innovative techniques to disprove his theory, and from this they developed the field of nuclear and theoretical physics. It suddenly became evident that our entire existence depends on fleeting impressions and misguided illusions, which are invisible to the human eye and yet control the universe. By the way, they are not impressions; they are real. Pawel Tkaczyk, in his paintings, seems to look into this hyper-micro world. When standing in front of his canvases, we are brutally dragged into an alien, yet oddly relaxing space. The art seems mechanical and dehumanized – supposedly created by some programmed machine. The existence of the painting is the only trace of the artist’s contribution. Moreover, the colour combinations convey flawless harmonies that seem to complement each other and subsequently tease the viewer’s most sensitive senses. Conversely, the paintings evoke familiar landscapes and human themes: a lawn in the sun, broken glass, road, blood stains… Tkaczyk plays with illusions, false sensations and optical perceptions by presenting the reality of the atomic scale. The worlds of particles seem to be included in his work as the stable pieces that create some static field. Stability. The works convey a space that does not include religion, war or politics. The abstractions become a manifesto underlining the importance of the utopian vision, a manifesto of the artist. The author presents a life absolutely separated from the restrictions of beliefs, political correctness or optical illusions based on culture or language. Nonetheless, he is unwilling to unveil the image of this newly created world, nor does he force on us any idealistic sceneries or blissful settings. Tkaczyk cuts out only the basic fragments of his vision. Chaos of the colliding particles around us contrasts with the perfect proportions and colour blocks. Their sharp edges, like a razor, refer to the sharpness of vision, lack of illusions and perplexing promises. There are no choices, languages or mistakes. Tkaczyk categorizes art as far from the ideal, but full of narration, which is why he only uses this ‘free-from-human’ abstraction. The flat surfaces, thinly applied paint and lack of visible brushstrokes highlight this approach to art. The artist aims for the less obvious, which is to separate the viewer and the canvas. He creates a new dimension designed for an enhanced version of humanity, in the hope that this will enable society to become more crystalized. Tkaczyk’s canvases enter the dialogue with supreme modernism and, frankly, this is not a pleasant conversation. We are dealing here with a conflict based on elementary nuclear physics. The paintings pause the chaotic movement of the particles and present a harmonious reality. The spectator is entangled in a network of misconceptions and becomes a slave to their own perception. The senses indicate that this programme reaches the desirable perfection based on the equilibrium: freedom. M.S.