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Post by pieter on Apr 25, 2010 9:13:04 GMT -7
Introduction with industrial paintings of Piotr Gardecki Since a couple of years his paintings are inspired by the city and her nature. The city architecture with the trees were his most important subjects. He painted on location and searched for the contrast between the bussy polluted cities and the ecological environments. He tried to find the last portions of nature in his environment. One day he realised that he had studied this subject enough. Therefor He decided to break this repetition and searched for a new subject. He pianted his first industrial paintings inspired by the old abbandoned and desterted factories during my stay in Poland. Piotr Gardecki says: I paint the industrial landscapes in the same friendly manner as I painted nature.I don't show the destructive particularities of the factory, the polution of the desolate environment, but the environment like we take it for granted, namely as a landscape. I try to accept thes modern landscapes as they are, I want to show these ugly buildings on a "beautiful" painterly fashion". www.piotr.exto.nl/
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Post by pieter on Apr 25, 2010 9:21:27 GMT -7
Statement of the artist
"When you are working from life you always see much more then you can cope with, so you get lost in many complications. When you are working from memory you try to retain what struck you most forcibly” - Alberto Giacometti.
The main subject of paintings is landscape where I am focused on nature because nature landscape is the best example of harmony and proportion. I am trying to show reality by painting on location in oil colours on canvas. Most of my landscape images are figurative.
Final result of my images is different from orginal because painting colours need to be constantly rendered to capture the time.
„We don't see what is before and during painting we view only final result of painting because there is no duration like in video” - Bill Viola
I am also intrested in urban landscape. I am looking for contrast between polluted cities and ecological surroundings by combining archtucture with nature. During realization of my work I am using different tools. Not just brushes but also, knfies, sticks. Mostly everything what can make mark on canvas and give me specific expression.
„The photograph is the most perfect picture. It does not change. It's absolute, and therefore” - Gerhard Richter.
Some of my paintings are based on photographs, I put so much contrast in city subject and nature that images became industrial and I paint this industrial landscpaes inspired by old deserted factories in the same way like I painted nature.
The painting are investment of time and energy. I spent me improving my skills and techniques. Each work is result of making mistakes and findng form,topic,limits and possiblites. Recently I don't work from photographs as source of my paintings. My work is more about colour and structure, directions, lines and surface but you can still find elements of figurative narration. I am trying to work from memory. I keep records of my decision I made on paintings in drawings and I transfer them back in to the painting.
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Post by Nictoshek on Apr 25, 2010 10:03:11 GMT -7
Definitely Van Goghish. I just use a single mouse click to turn my photographs into masterpieces. ;D
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Post by tuftabis on Apr 25, 2010 11:14:04 GMT -7
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Post by pieter on Apr 25, 2010 15:26:54 GMT -7
The works I saw at his exhibition in Arnhem sunday: www.piotr.exto.nl/site/kunstwerken/14152913_Arnhem.htmlYes, he has something of van Gogh in his paintings, but also other painters. An inspiration to him is the Polish avantgarde painter Henryk Stażewski! Henryk StażewskiHenryk Stażewski (1894-1988) was a Polish painter, considered to be a pioneer of the classical avant-garde of the 1920s and 1930s. He was a foremost representative of the Constructivist movement, as well as the co-creator of the Geometric Abstract art movement. Stażewski is one of Poland's most acclaimed modernists and his art constitutes an extremely important point of reference for the CCA Collection. The private collection of Marek Niemirski includes the famous Ucieczka [Escape], a painting with an equally famous and stormy history. The painting was won at a raffle and left behind a wardrobe for 50 years. Forgotten by its owners, it was considered lost by art historians and critics. Found years later by Niemirski, it is making a return to art and Polish culture. RELIEF W ZIELENIACH 1975 r. Akryl na płycie 31,5 x 31 cm Sygnowany na odwrocie - "1975 / H. Stażewski" dodane 2008-05-20 (13:27) Model wnętrz, 1976 Komposition, 1978, oil on wood, 43 x 43 cm
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Post by Jaga on May 1, 2010 22:30:37 GMT -7
Hi Pieter,
Piotr Gradecki's art speaks to me more that Stazewski. I saw Stazewski before but I am not really a fun of modern art unless it has something really interesting (like moving elements etc).
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Post by pgardecki on May 5, 2010 2:10:27 GMT -7
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Post by karl on May 5, 2010 7:06:01 GMT -7
pgardecki
May I offer to you a most hearty welcom to the forum! Perhaps you are the painter in self?
Karl
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Post by pieter on May 5, 2010 7:49:13 GMT -7
Karl,
He is the painter himself! Piotr, welcome, I enjoyed your paintings very much!
Piotr,
I studied at the art academies of The Hague (Royal; 1 year) and Arnhem three years. Got my bachelor degree painting and video in Arnhem. Before that I studies art and history teacher in Amsterdam where I lived and studied from 1990 until 1992. (The last year in Amsterdam I studied in Den Haag).
I like the fact that you studied, worked and exhibited in three countries, The Netherlands, Poland and Scotland. An international orientation, audience and art market is good for an artist.
Pieter
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Post by karl on May 5, 2010 8:34:01 GMT -7
Karl, He is the painter himself! Piotr, welcome, I enjoyed your paintings very much! Piotr, I studied at the art academies of The Hague (Royal; 1 year) and Arnhem three years. Got my bachelor degree painting and video in Arnhem. Before that I studies art and history teacher in Amsterdam where I lived and studied from 1990 until 1992. (The last year in Amsterdam I studied in Den Haag). I like the fact that you studied, worked and exhibited in three countries, The Netherlands, Poland and Scotland. An international orientation, audience and art market is good for an artist. Pieter Pieter Thank you very much for this correction It would so seem with two painting artist on the forum, should insure an excellent cultural exchange {and of education and art appreciation, so to speak}. May I say of this Pieter: It was of great pleasure and quite impressive of your high degree of training in the painting arts For this then adds to a better degree of appreciation of your efforts and skill. Karl
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Post by pieter on May 5, 2010 8:34:48 GMT -7
Hi Pieter, Piotr Gradecki's art speaks to me more that Stazewski. I saw Stazewski before but I am not really a fun of modern art unless it has something really interesting (like moving elements etc). Jaga, You have a differant taste and your preferences and I respect that, but I love the modern and abstract work of Henryk Stażewski! And I can understand why Piotr Gardecki likes the work of Stażewski eventhough his work is more realistic. Maybe Piotr likes the work of the twentieth century German and Polish painters Anselm Kiefer, Tadeusz Kantor, Zbigniew Makowski, Max Beckmann, German expressionists, Russian consgtructivists and American Modern art? Anselm KieferAnselm KieferAnselm KieferMax BeckmannTadeusz Kantor - composition " M. de Roannez disait: Les raisons me viennent apres..." 1971 olej, płótno 92x73 cm w zbiorach Muzeum Narodowego we Wrocławiu fot. pracownia fotograficzna MNWr
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Post by pieter on May 5, 2010 8:50:36 GMT -7
Poitr, These images show the paintings that hung at the exhebition in Arnhem that I saw. It's the reason why I started this subject. It was wonderful that you two had so much space to show your paintings and drawings. Artists don't often get so much space to show their work. It was a wonderful exposition and this shows that exposition. I hope that fellow forum members get an expression of that exhebition. Paintings in my opinion you have to see in real, face to face in the sense, your viewers face to the face (the surface of the canvas, the painting) to have the live experiance of space, composition, material (the paint of the painting put in form), the subject of the painting, the three dimensional experiance of it and the atmosphere of the painting, which is differant than documentation through photography. But that is just the opinion of a former painter and a person who is fond of art and especially paintings and painters. Pieter
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Post by pgardecki on May 6, 2010 1:11:09 GMT -7
Hi There,
I like Kifer very much. His work is very power full. I have seen his work live in London. Size of painting was gigantic. I have been talking about Stazewski because I like his books and ideas.
He inspire me indirectly into my work.
And it's true that the best way to see paintings it's to experience them live. But today everything have photographic equivalent and we can't stop this. I am glad I found this forum.
Actually someone sent me email that it's open subject about me expo and I am very pleased. From now on I will be present and active here.
Best,Piotr
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Post by pieter on May 6, 2010 2:33:54 GMT -7
Hi There, I like Kiefer very much. His work is very power full. I have seen his work live in London. Size of painting was gigantic. I have been talking about Stazewski because I like his books and ideas. He inspire me indirectly into my work. And it's true that the best way to see paintings it's to experience them live. But today everything have photographic equivalent and we can't stop this. I am glad I found this forum. Actually someone sent me email that it's open subject about me expo and I am very pleased. From now on I will be present and active here. Best, Piotr Piotr, Ofcourse you are right, as an artist you have to document your art, show it on websites or blogs on the internet or in portfolio's (a book with photographs of your paintings and drawings which you show to gallery owners, curators or possibe buyers of your work). I have to admind that when I was an artist in the ninetees with my own studio in Arnhem, I did not like documenting my work, because it took a lot of time and with the analogue technique of that time it took a lot of slides, because you took more images of one painting to get the right one in the end after a thurough (tough) selection. That was for me the most difficult job of being an artist, the quality selection process and the documentation and connections to and with the outside world. I love that period in my life, the painting, the art projects (cooperation with other artists in three differant Dutch cities and towns), the art world and the slow progress I made. It isn't an easy life being a painter. But your dedication, production, the quality of your paintings and the fact that you exhibit it and put it on the internet makes your work visible and alive Piotr. Painting the way you do is a solitairy process, a selective, exact, research, conscious and very creative job, which requires discipline, skil, backbone, dedication, fondness of your subject and knowledge of the material you use, oil paint, turpentine, glaze (painting technique). Thin, thick layers, use of external tools like a Palette knife, ruler or tape to get straight lines. (I used that in my abstract paintings). During your education on the art academy and after that you learn painting techniques, theory, to use perspective (how to draw and paint something from a distance and from nearby and between the two), color, black, grey and white, composition, art history or theory, and you see a lot of work of the students of your own year, the years before you and the years after you because you stay in touch with your former art academy teachers (in my case that of Arnhem). And in cooperations I also met students of the art academies of Breda, Kampen, Groningen, Amsterdam (Rietveld, Sandberg Instituut, Rijksacademie and Ateliers), The Hague (studied one year there, and I love the fact that I could lay my foundation in that classical Royal academy there. The pianting, stil live, model (nude an dressed), three demensional and graphics theachers there tought me a great deal. The (red) bearded painting teacher Jan van Spronsen was very strict, but I learned my basics of painting from him. ( www.haagsekunstenaars.nl/cv/683/Jan+van+Spronsen ) He was an old fashionate painter somewhere inbetween Cézanne, Van Gogh and Beckmann. I saw an exhebition of him in Pulchri studio in the Hague (one of the two old Dutch art societies and artists clubs, Pulchri ( www.pulchri.nl/index.php?id=16 ) in The Hague and Arti et ( www.arti.nl/arti_en.php ) in Amsterdam. I will not forget him nor other teachers, students and artists I learned from. These two years in Amsterdam from august 1990 and august 1992 were for me experimental years, with a lot of three deminsional work also (wood, metal, briks, wires, aerosol paint (also called spray paint, they use in Graffiti), mixed with oil and acrylic painting. Once I used a door of an old fiat whcih had fallen off, another time an old wooden door of an Amsterdam chanal house. Amsterdam was drawing the city, the animals in the Zoo, selfportriats, woodcut art, abstract painting actions in public (something inbetween three demensional, sculptural art, a performance and a painting) and working in old temporary buildings which we used as a temporary studio. We were young and could'nt afford a studio back then. Later I found out that I am a solitairy man, need a personal studio, and that I am not a performance or happening artist, nor a group artist. The last years of my painters life I worked in my studio, and only focussed on painting! I had to give it up because I could not make a living and did not have enough connections or a business skill. So from 1999 I started my ordinary saleryman life, a payed job, and kept a studio to paint in my spare time. Last year I had to give it up. If I ever will return to being an artist I don't know, what I do know is that I love art, am fond of painting and drawing and like photography too. I am greatful to my parents that they took me to Modern art museums in Poland (Warsaw and Poznan), Belgium (Antwerp, Gent, Knokke Heist, Brussels, Liege/Luik and in the Ardens), France, Germany and the Netherlands (Rotterdam, The Hague, Amsterdam and etc.) They bought modern polish graphical art, abstract and realistic in the eightees which hangs in their house and which inspired me too. I also like the fact that the Polish family of my mother is a cultural family (a family of cultural people, educating people and trade - the Poznan family, Poznan is a trade town). And ofcourse my Dutch father, my Dutch grandparents and their family were people who were fond of art and culture too. My father drawed and painted whole of his life, until today (he is from December 18th 1927, Rotterdam). My mother is a talented painter too, she is good in abstracts. So I am blessed to come from from such an environment. I am blessed with both my Polish family and my Dutch family. I am greatful. In the same time I love to see new art, new paintings and meet people like Piotr and the German-Dutch artist Sabine Jahnke. I knew her from a birthday party of a Dutch artist couple, dear friends of mine * Renneke van der Linden and Michiel Nijkamp. Pieter
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Post by pieter on May 6, 2010 2:40:33 GMT -7
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