Unsent letters from Beijing

2012-2013, painting installation, chinese paper, ink, size determined by installation

Windows on Utopia — paintings of Urszula Wilk

(...) Letters are always addressed to somebody. Even if the addressee is a stranger. Letters not sent have their addressee or addressees too. The paintings-letters of Urszula Wilk are a kind of self-portrait whose idea is not the representation of the current appearance, but the expression of the inexpressible. These letters are entrusted to the air; the distance between the hand holding the brush and the surface of the paper filters and encodes the ‘uttered’ words. These words are monologues written by the artist to herself, although, perhaps, she writes them because of somebody or something. She encapsulates her thoughts and emotions in a kind of writing that cannot be decoded. Only to such a notation may one safely confide what must come into being and, at the same time, be kept at the perimeter of expression. Even if just to avoid hurting somebody too deeply. (…)

Marek Śnieciński

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Lines — Airport, Wrocław

2013

Lines

2012, installation, canvas, acrylic, ink, 3×170×2000 cm — Shang Yuan Art Museum, China

A 60-meter long picture is like a line, a paintbrush mark left in the space. When magnified, one can find there black-and-white countless painting worlds, painter’s foot and hand prints, fragments of grass and leaves absorbed by paint. The line — painting embraces the geometric form of Shang Yuan Museum building and changes the scale and perception of painting in the space. Light and shade participate in the process of creation. The space, air and landscape are the frames of the picture, whereas the trains passing by complete it — moving lines that translocate and are a regular element of this scenery. Lines — common, uncommon.

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Works on canvas

2004-2015

Windows on Utopia — paintings of Urszula Wilk

(...) Urszula Wilk has always been focused on establishing her own rules of the painting game. It seems, that in her case these rules are not an a priori defined set of principles but something she searches within the very creative process. Hence, these rules emerge at the time of painting (gradually, or by leaps) and she tries to provide the language of her painting with the environment in which the painting ‘idiom’ could grow into an autonomous self-sufficient structure. In her case there are no external or universal rules, there is no ideal matrix or recipe how to create (and later perceive) a painting. However, it is not the case of the lack of any rules, of acting as one likes. The problem is that today a work of art (or, in other words, the artist in the process of creation) must by itself find and establish the rules that would enable its existence. This situation is difficult both for the artist and for the recipient. First the artist and later the recipient face challenges that remind one of those a person thrown into a fairy tale would face – it would first have to recognize the rules of the game played. I consciously use the word ‘game’, since if it is a game, then identity is at stake, as Hans-Georg Gadamer has already established. Let me remark that we mean both the identity of the artist, the identity of the work of art, and the identity of the recipient who will participate in the game created by Urszula Wilk. (...)

Marek Śnieciński

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