ARTISTS
Iwo Panasiewicz: Gaps and Cracks
In Iwo Panasiewicz's drawings from the Vacant Building series as well as in the exhibition space, there are ruins of buildings and fragments of walls left over from their demolition. Those in the real space have been constructed as finished 'ruins'. It is an architectural installation in which drawings are placed and which at the same time seems to 'emerge' from them. As if it goes beyond two dimensions, from the drawings into our reality, but remains in the realm of conventionality and fiction. The ruins look as if they have been created in a 3D modelling programme. They have deliberately smooth rounded edges 鈥� those in the drawings and those in the gallery space.
Artificial ruins, designed with sculptural precision to 'disintegrate' picturesque walls, are a familiar motif from Mannerism, Baroque or Romantic Classicism, and used in a scenographic way in Postmodernism (the famous facades of the BEST chain of shops). It contradicts the pragmatic principle of 'form follows function'. One of the most interesting examples of this motif in architecture can be found in Cracow, the artist's hometown. In this case, the form is the result of the content.
This motif and several others, such as the smoke in the Smoking Area series, or the labyrinthine zigzagging walls and meandering cables in the Wanderer series, emphasise the artificiality of the world depicted in the drawings. At first glance, they seem to illustrate emotional states that have been 'generated' by algorithms fed by commonly and massively available data. As if they had been created from databases of reproductions of paintings 鈥� from medieval to contemporary 鈥� stock photos, cartoons. The figures on them sit, lie, stand and walk, carefully posed.
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In Iwo Panasiewicz's drawings from the Vacant Building series as well as in the exhibition space, there are ruins of buildings and fragments of walls left over from their demolition. Those in the real space have been constructed as finished 'ruins'. It is an architectural installation in which drawings are placed and which at the same time seems to 'emerge' from them. As if it goes beyond two dimensions, from the drawings into our reality, but remains in the realm of conventionality and fiction. The ruins look as if they have been created in a 3D modelling programme. They have deliberately smooth rounded edges 鈥� those in the drawings and those in the gallery space.
Artificial ruins, designed with sculptural precision to 'disintegrate' picturesque walls, are a familiar motif from Mannerism, Baroque or Romantic Classicism, and used in a scenographic way in Postmodernism (the famous facades of the BEST chain of shops). It contradicts the pragmatic principle of 'form follows function'. One of the most interesting examples of this motif in architecture can be found in Cracow, the artist's hometown. In this case, the form is the result of the content.
This motif and several others, such as the smoke in the Smoking Area series, or the labyrinthine zigzagging walls and meandering cables in the Wanderer series, emphasise the artificiality of the world depicted in the drawings. At first glance, they seem to illustrate emotional states that have been 'generated' by algorithms fed by commonly and massively available data. As if they had been created from databases of reproductions of paintings 鈥� from medieval to contemporary 鈥� stock photos, cartoons. The figures on them sit, lie, stand and walk, carefully posed.
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