Post on 15-Mar-2016
description
Marcin KOWALIKMarcin Kowalik was born in Zamość in 1981 and he gra-
duated from the local high school of fine arts.
From 2001 – 2006 he studied painting at the Academy of
Fine Arts in Cracow in the workshop of professor Adam
Wsiołkowski. Under his supervision he also achieved
the PhD degree. Currently he takes the position of his
assistant in his studio.
Kowalik performs painting and art within the scope of
installations, object and performance.
He is an organizer, art curator and artistic supervisor.
He was a scholarship holder of many scholarship pro-
grammes, for example of Minister of Culture and National
Heritage (2001), The President of Zamość (2002), Crosskick
Academie, Berlin (2007), PhD Scholarship of Academy
of Fines Art in Cracow (2008), Ateliers Höherweg 271,
Düsseldorf (2008), Grazzell’s scholarship (2009) and The
Scholarship of creative President of Cracow City (2011).
Currently, he lives and creates in Cracow. Privately, he
is a husband and father of two sons.
GenesisI am the first viewer of my paintings. I would like to start with the genesis of my artistic
way to indicate the importance of those words in my work.
I started discovering painting as such from working from nature but, with time, I channe-
led my interests towards focusing on a painting itself. With hindsight, my painting from
nature was never just about photographic or impressionistic coping the observed nature
on two-dimensional canvass. I also put effort into working on composition, achieving
colour harmony of a painting and other formal issues, but still they remained marginalized.
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Space of travel - compilation, acrylic, 130x200 cm, 2012
The Space of TravelAt the next stage, I focused on creating the artistic world from scratch. The reason for doing that
was an idea (my diploma The Space of Travel 2006). Unlike my previous work on objective or
subjective reflecting the nature, it was an attempt to present a thought, an impression. Thanks to
that project I started to pay more attention to the process of creation.
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The Interior od a carriage, acrylic, 55x65 cm, 2012 The View-After, oil, 110x140 cm, 2006
Contemplation II, oil, 110x140 cm, 2012 Wagon, oil, 110x140 cm, 2006
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Mountain II, acrylic, 100x100 cm, 2012
Landscape in a BoxThe cycle is a result of my experience from plein-air painting.
I presented laws of physics and natural phenomena in a schematic way,
often presented individually, isolated from a general context.
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Tubes, acrylic, 90x130 cm, 2010
Forest Line, acrylic, 80x130 cm, 2012
Cyclone, acrylic/oil, 77x140 cm, 2012
Forrest as such by Immanuel Kant, acrylic, 50x80 cm, 2012
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Aquarium, mixed media, 55x125 cm, 2007
A House on Marshes, acrylic, 30x60 cm, 2010
Tree study I, acrylic, 30x40 cm, 2012
Tree study II, acrylic, 30x40 cm, 2012 Tree study III, acrylic, 30x40 cm, 2012
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Line Park in Zakopane, acrylic, 70x80 cm, 2011
Lake, oil, 70x80 cm, 2011 Morning Fogs in the Mountains, acrylic, 70x80 cm, 2011
Cave, oil, 30x40 cm, 2011
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Volcano Eruption on Iceland, acrylic, 200x130 cm, 2011 Winter, acrylic, 85x140 cm, 2010
Scale Model, acrylic, 110x140 cm, 2010
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The Unknown KingdomHuman brain displays unlimited possibilities. When I enter the world of an old painting, I trigger off my
imagination. I can imagine the scene from an old painting as a three-dimensional theatre stage, where
I can walk among three-dimensional characters and object, and delve deeper into that world (also beyond
the frames of a painting). It is all based on hypotheses connected with painting facts and the ”physics” of
a particular painting. This is a form of creating a secondary world of an old painting by giving the elements
of a painting new life that is suspended in ”another parallel world”.
In order to create some painting reality to some extent separate from the one around us, I focused even more
on a painting itself at the successive stage of my work. I started to paint my paintings from other paintings,
to establish my personal dialogue with paintings of other painters, as I wanted to be closer to a painting
and the elements of its world. It all refers to my PhD diploma the Unknown Kingdom (National Museum
in Kraków), which contained all the stages and interests that had constituted my artistic way till that point.
It dealt with the problems of the painting language, looking at old paintings in the context of deconstruc-
tion as well as an artistic dialogue, i.e. an attempt to create paintings telling hypothetical painting stories
taken from the old works.
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Paint Box, acrylic, 130x200 cm, 2008
From Inside, acrylic, 130x200 cm, 2008
Air Perspective, acrylic, 130x200 cm, 2010
Bathing Girls byCourbet & Rembrandt, acrylic/oil, 130x200 cm, 2012
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Draft for ‘The Studio’, acrylic, 90x120 cm, 2009-2011
Venus and Cupid, acrylic, 90x130 cm, 2011
Music, acrylic, 130x200 cm, 2010
Purgatory II (A vision of the unsucceful suicide of Roman Lucretia according to Lucas Cranach St.), acrylic, 130x200 cm, 2012
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Florence Studio of Paolo Uccello, acrylic, 100x160 cm, 2012
Landscape in Wood by Cornelis de Bie, acrylic, 60x100 cm, 2012
Visitation, acrylic, 90x130 cm, 2010
Martin Luther’s cut-out, acrylic, 90x160 cm, 2009
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Technicolour II, acrylic, 90x150 cm, 2012
The Awakening of a Sleeping Young Man with a Burning Wick wg Nicolas Regnier, acrylic/oil, 90x150 cm, 2012
Hero test I Insp. Paolo Uccello, acrylic, 50x50 cm, 2012
Hero test II Insp. Paolo Uccello, acrylic/oil, 50x50 cm, 2012
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Hero test V Insp. Paolo Uccello, acrylic/oil, 50x50 cm, 2012
Hero test VI Insp. Paolo Uccello, acrylic/oil, 50x50 cm, 2012
Hero test III Insp. Paolo Uccello, acrylic/oil, 50x50 cm, 2012
Hero test IV Insp. Paolo Uccello, acrylic/oil, 50x50 cm, 2012
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Water Circulation, acrylic, 200x130 cm, 2008 A Holy Place by Gruenewald, acrylic, 50x110 cm, 2010
Christmas by Paolo Uccello, oil, 56x67 cm, 2012
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A source by Ingres, acrylic, 200x130 cm, 2012 Jean-Auguste-Dominique Ingres “A source” (1856)
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Back to BasicsThe Back to Basics cycle was a significant, though underrated, stage of my artistic way. Once again
I wanted to look at my process of creation at that time from outside and see my achievements to
date objectively. I tried to analyse the works I had created till that point and draw some conclusions;
to extract and classify what had been purely my own artistic discovery; to group painting elements,
space and laws of art physics I had created. There was no exterior source of inspiration for the
cycle. I only used abstract painting motifs I had developed before connected by the structure of
phenomena of a painting’s physics in order to create space on canvas.
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Lily,acrylic, 40x60 cm, 2010/2012
Exotic wood, acrylic, 70x90 cm, 2012 Box, acrylic, 40x70 cm, 2012
Box II, acrylic, 40x70 cm, 2012
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The Germans hid treasure in the wall, acrylic/oil, 75x100 cm, 2012
Drawing, acrylic, 40x80 cm, 2011
Bunker, acrylic, 40x100 cm, 2010
The River, acrylic, 70x100 cm, 2010
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Christmas palm II, acrylic, 37x69 cm, 2012
Christmas palm I, acrylic, 82x24 cm, 2012
Water Circulation, acrylic, 40x60 cm, 2010
Transformations, acrylic, 40x60 cm, 2010
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The Inside of Volcanic Smoke (study), acrylic, 30x50 cm, 2011
Source,acrylic, 30x80 cm, 2010
Christmas palm III, acrylic, 50x65 cm, 2012
Cylinder Inscribed in a Cube, acrylic, 20x30 cm, 2010
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Tree Study IV, acrylic, 40x70 cm, 2010
Set, acrylic, 50x70 cm, 2011 Natural Phenomena, acrylic, 50x70 cm, 2010
Deconstruction Outline I, acrylic, 70x100 cm, 2010
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The Study of Lightning Stroke, acrylicl, 50x70 cm, 2011
Flight, acrylic, 40x70 cm, 2012
Deconstruction Outline II, acrylic, 40x60 cm, 2010
Smoke Study, acrylic, 50x70 cm, 2011
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Ice Baloon, acrylic, 40x70 cm, 2010
Autumn Rain, acrylic, 90x130 cm, 2010 Gothic Interior, acrylic, 50x70 cm, 2011
The Making of Cuboids, acrylic, 40x70 cm, 2012
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Hiding Place, acrylic, 50x70 cm, 2011 April Snow, acrylic, 85x120 cm, 2011
Magical Square, acrylic, 130x200 cm, 2008Cube, acrylic, 40x40 cm, 2010
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Spatial signal, acrylic, 90x90 cm, 2012
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Mirror PhaseFor the purpose of the next cycle, Mirror Phase, once again I had to free myself from the painting
reality in which I had remained. That cycle is not only a story about a mirror, but it also raises the
issue of the reception of art. Phenomena like interpreting a painting or projecting the viewer’s
world on a contemplated painting (which had been brought up in The Unknown Kingdom) ga-
ined their new meaning when I treated a painting as a mirror. The mirror is not so much a pane
reflecting the outside world as containing its own inner world. Contemplating our reflection in
the mirror we are not able to say for sure to what extent it is our real silhouette and to what extent
what we want to see.
The starting point for the cycle was the conception of Alice in Wonderland but I soon realised
that the mirror can be an allegory of a painting. These assumptions led me to come closer to and
understand thoroughly many processes that accompany contemplating a painting.
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Aftervision of post-projection, acrylic, 110x110 cm, 2012
A meaningless painting, acrylic, 140x140 cm, 2012
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Garden of Living Flowers, acrylic, 100x150 cm, 2011
Filter, acrylic, 90x130 cm, 2011 Stick, acrylic, 70x100 cm, 2012
The Absorbed Ones, acrylic/oil, 130x210 cm, 2012
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Post-projection, acrylic, 100x160 cm, 2012
Reflection II, acrylic, 70x80 cm, 2011
Deconstruction phase V by Paolo Uccello, acrylic/oil, 145x245 cm, 2012
Fissure, acrylic, 40x70 cm, 2012
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Afterview of a Skyscraper, acrylic, 40x60 cm, 2010
Exhange of Information, acrylic, 60x80 cm, 2011
Mirror puzzle, acrylic, 40x70 cm, 2012
Pre-painting II, acrylic, 70x100 cm, 2012
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Fabric hanging from a Mirror phase VII, acrylic/oil, 55x65 cm, 2011/2012
My father’s painting in the kitchen - a church in Szczebrzeszyn, acrylic, 60x100 cm, 2012
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