黑料不打烊

The story Zbigniew Rogal颅ski tells in his newest show begins with a col颅lec颅tion of seashells. Rogal颅ski has accustomed us to pain颅tings in which various spaces interpenetrate鈥攁rtistic, museum space and intimate, private space. Homesick is also a kind of col颅lec颅tion, but merely a pretext to deeper meditation. Rogal颅ski is con颅cer颅ned with the ambiguous relation between the body and architec颅ture, between the living and what is built to protect it, between the organic and the rational. The aban颅doned shells in his pain颅tings are both images of places of poten颅tial shel颅ter, a living space, and a metaphor for leaving home, depar颅ture or forced escape. In Rogalski鈥檚 pain颅terly inter颅pretation, this ambiguous symbol has the softness of a shroud. His pain颅ting movin颅gly com颅bines formal inven颅tion and finesse with a lyrical mes颅sage. In itself it is an intuitive jour颅ney spiral颅ling into the depths, where the image finally ends but curiosity remains alive.

The canvases are accom颅panied by photographs featuring the rec颅lining figure of the artist鈥檚 teenage son. Por颅trait of a Boy without a Pillow, Rogal颅ski ten颅tatively titled these images, but they could just as well allude to the notion of a snail craw颅ling into an indepen颅dent future. The pain颅ter draws elemen颅tary geo颅metrical figures on them, seeking a rational, Vitruvian order. But instead of a simple rule, the motif of the spiral tel颅lin颅gly returns.