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Simona Sanvito
transiation by Daniel Pludwinski
ANTONINA WYSOCKA-JONCZAK allows us —
thanks to this retrospective exposition that sanctions the first 40
years of her artistic activity — to deeply enter in her silent and
poetic world, in an initiatory path that let us acquire both the single
and global sense of an interconnected everything, where the personal
level and the collective one melt together and compose a mosaic in which
every single piece is a sign, a masterwork, an idea.
Her works, created during the years, exposed together acquire a fuller
and different meaning: lines reveal themselves, paths twist together,
the artist narrates herself opening us the doors of a concealed world,
confidential, but never hidden.
It is a not shouted art, created in the silence (the wood, the family
intimacy, the nature). Not for this reason untied to the reality and to
its time, only not blatant.
In a studied, theorized and codified Art System (ABO docet ) made of
great ultimate exasperated acts, typical of our fast times, which so
much love splashed stories across the front page, sensationalism,
emergency and non-stop alarm, AWJ tells us the meaning.
While the sirens ring, in the wood she walks. Maybe she looks at the
world with the eyes of someone who does not conceive the reason of such
an apprehension following momentary values.
In our spinning round world she is there with her so natural rhythms,
dealing with the sense of the things, with to be intimate and
complicated meaning and the range of atavic feelings and thoughts,
common to every human being: affectivity, loss, nostalgia and sense of
holy.
In her meditation, so unexpectedly near to the oriental thought, AWJ
presents us the magic of the discovery of comparison: her memories, her
reflections become common property, her personal vicissitudes mingle
with the collective ones.
To be in touch with her art it is like entering a secret garden, in
place of deep inner knowledge. And AWJ's art has to be treated just like
this, with softness, respect, will to understand. Once there we notice
we are not alone in front of the big life events, every work - and every
reflection - creates depth of meaning and human comprehension.
A weird contrast exists between AWJ's untouchable realizations
significance, the light poetry and the so hard matter they are created
with.
To sketch out precisely and unambiguously the artistic path tinged to
this pluriennial work it is not prompt: heterogeneous shapes, dimensions
and materials mingle together, they dissolve, disappear for more or less
long periods, to then resurface, almost like Karstic rivers that
patiently, in earth silence, produce numberless weaves and subterranean
gallery. Some of them that were of prime importance submerge in the
deep. Others born almost by chance, channeling small trickles of
extemporaneous ideas, resurface renew, and with a surprising flow.
To dig it is probably the most appropriate term: in the double meaning
of matter manufacturing, through removing, and the wearing inner
research. The time of the work and of effort becomes the time of
reflection. Meanings mix, walk jointly. This is perhaps the deepest
sense of Wysocka's work, the fill rouge unifying of her long producing.
In her creations there is always, independently from the material, from
the occasion, from the contingency of the work itself, the attempt to
extract the De Saussare meaning, the attainment of the idea we would say
almost platonic”, precise and global, of a given subject. It is a long
work, slow, which happens in the inner ego, without hurry: a progressive
depuration, which allows to distil the thought. Once isolated, concept
declines to action, to movement, and from this to a meaningful form.
In the passage from subjective to objective the artist informs us, in
touch with her inner world. It is however a jealously kept intimacy,
carefully weight and checked. And this process precisely is what allows
to reach an universal meaning, afterwards explicated in an artistic
form.
But what profoundly characterizes Antonina
Wysocka-Jonczak's sculpturing is the very personal capability of
conjugating in a unambiguously way her own symbolic tension with a very
strong factual, empiric declension: it is an encounter-engagement with
the material, a test-bed, the moment when inner elaborations acquire
tactility.
The material has to bend to will and every gesture, every scratch is a
sign of its subjugation. It is has nothing to do with a project made by
others in laboratory, the retrieval of intense work in its deeper and
real meaning, as effort, devotion, technique, so close in this meaning
to the artisan making”. Just like a finger print released by this
creative energy, light trembles and every furrow is memory, factual
proof of this confrontation between thought, intellectual, psychic,
mental, might and phenomenological matter, concrete and real. |
