1.06 – 13.07.2019

Some time ago the message entitled 'Color use in paintings, by year' spread around the world. The message was accompanied by an appropriate color chart. This innovative study was undertaken by Martin Bellander, a student of Psychology at the swedish Karolinska Institutet. Wanting to explore how the use of particular colors in painting has evolved over the centuries, with the use of computer he analysed 94 526 reproductions of images from the years 1800-2000, available on the BBC website. This arduous work brought the conclusion that the use of orange color decreased in direct proportion to the increase in the use of all other colors.

We decided to continue this study, which concerned the previous century, to determine how the painting palette looks like right at the beginning of the new millennium. We came up with examples from the work of four artists, whose attitude towards colors and their use seems to be not only different, but even contradictory. Koji Kamoji not being able to determine what color meant to him, bought a set of paints he simply liked and painted a series of striped pictures, which he called 'Colours and I'. Tomasz Ciecierski is almost addicted to colors. For the exhibition in Propaganda he prepared a special set of small paintings, based on colors from the Tuscan Lamole, where for years he has been spending his long artistic holidays. Anna Barlik combines sculpture with painting. She is looking for ways of constructing space by the means of color. With the use of industrial powder coatings, she covers back sides of steel panels and creates a bright color reflection effects against the white wall. Adam Jastrzębski makes vinyls – expanding structures built of dozens of layers of self-adhesive vinyl film, diligently and precisely cut, so that after gluing, a millimeter wide colorful stripes are created. And colors? The colors are factory-made and randomly selected. Thin lines seen from a distance merge into a new value.

If we wanted to draw constructive conclusions from the analysis of works by these four artist – or by all other contemporary artists, we would probably arrive at a conclusion such as in Coen Brother’s 'Burn After Reading' film: 'What did we learn? Nothing!'.

And the best thing about the whole situation might be a short comment by Tomasz Ciecierski: 'The secret lies not in forms and colors, but outside them'.

Opening: Saturday, 1.06.2019, 5 – 8 PM.

Anna Barlik (1985)
Anna Barlik studied at the Academy of Fine Arts in Łódź and in the Sculpture Department at the Academy of Fine Arts in Warsaw, where in 2017 she got a PhD. Working with space and color, Barlik explores the relationship between human and the surroundings. She participated in several residency programs, among others in Iceland and Finland. The landscape of the Nordic countries was an inspiration and a starting point for works from the Aurora Borealis series.

Adam Jastrzębski (1980)
Adam Jastrzębski studied art history at the University of Warsaw. For over ten years he has been working on the Vinyls project. He creates multicolored objects which modules are produced in a time-consuming process of manual cutting self-adhesive vinyl foil. Subsequent layers of colored bands grow and merge, creating autonomous planes. Everything is based on the original Jastrzębski's computer language-code - Vinylogos, which determines dynamics, order, and the use of randomness in the creative process.

Tomasz Ciecierski (1945)
Tomasz Ciecierski studied at the Academy of Fine Arts in Warsaw. He creates multi-layered colorful compositions which, operating with various degrees of transparency, suggest a multitude of points of view and constitute a pictorial visualization of Ciecierski's philosophy of looking. His works were exhibited at the 5th Biennale in Sydney (1984), 19th Biennale in São Paulo (1987) and Documenta IX in Kassel (1992). In 1999 he received the Jan Cybis Prize .

Koji Kamoji (1935)
He studied at the Musashino Academy of Fine Arts in Tokyo and at the Academy of Fine Arts in Warsaw. Using basic means of expression, he creates minimalist, precise works - paintings, sculptures and installations, which through their lapidary and essential form remind of Japanese haiku. Strongly embedded in physicality, at the same time they create a feeling of experiencing something very elusive. Kamoji is a laureate of the Cyprian Kamil Norwid Critics' Award (1975) and the Jan Cybis Prize (2015).