Ideo-metries – equivalence of meanings?
Abstract concept is sometimes used in reference to things that are not located in space or time; in that sense, numbers, properties, sets, proposals and even facts can be seen as abstract, while individual physical object and events are concrete. The ability to create and use abstraction is viewed as a prerequisite for higher cognitive processes like forming of judgements, comprehension of knowledge gained from experience and drawing conclusions.
The term abstraction is voluminous and in the context of art it functions in many ways in the processes of image-forming, in which only some of the visual elements are usually assigned to the “natural world”. Abstraction is devoid of any illustrative characteristics – the artist's interest concentrates on the questions of form and content, through the non-figurative depictions, often originating from the transposition of reality.
Various concepts of abstraction appeared throughout consecutive modern art movements of XXth Century. Abstraction emerges in different ways in subsequent varieties of visual art. The presented works represent an attempt at analysis of the issues related to the validity of actions undertaken by the artists, at showing a selection of inspirations by reality, science, and presentation of their results.
In general abstraction is always dependant on what kind of parameters of representation are adopted. This term is still being defined and introduces interesting issues into the general theory of reference. For example in visual arts, abstract works are often defined as not representing a thing but not every work that does not represent anything must be abstract. Often too abstraction constitutes a result of form's reduction to its very essence (reduction does not denote lack of content).
At the visual level abstraction may appear for instance as a line, points, geometric object and spots – it is an effect of purification through some elevation of generality. While at the level of meaning it can contain anything – mathematical relations, philosophical concepts; its subject matter could also consist of emotional states or knowledge drawn from the continuity of cultural heritage, as a basis for coming up with a new idea.
The title Ideo-metry constitute the fundamental criterion for the selection of the presented works of artists, whose artistic stance is characterized by an exploration of significant ideas, relating to the existing laws, sciences, aesthetic, philosophy, and yielding as a result of its explorations a certain meter, measure, structure of artistic construction. The subject of the presented works is the thematic interdependencies between the world of ideas and the world of objects, transposed into purposeless forms. Meter is seen as a value of persisting depiction within the measures adopted by the artist: scale, repetition, colour, scheme, rhythm, contrast. While the ideas understood as undergoing the examination of equipollent relations and/or their absence, topological space, photometric space, transposition, etc. Two aspects of this issue must be distinguished: one is the thought, the other is the form of its realization. Both one and the other could be abstract, and occasionally one of them is definitely abstract.
I narrowed down the selection of works to abstract art realizations, which are not just a pictorial expression nor are contained in the pictorial material. Stances taken by the featured artists are very clear, mostly based on a long-term search for understanding of ideas and ways of their depiction and on the construction of their own artistic concept.
When half a year ago I finally decided on the title “Ideo-metries” (a name that combines two words – idea and meter), I wanted to present acts based on a geometric, analytical abstraction (Gołkowska, Chwałczyk, Makarewicz, Milecka), and then ones relating to the emotional, connotative aspect (Błażejewski, Lewandowski-Palle, Podsiadły) and relating to the transposition of objects abstracted from reality (Kołodziejczyk, Czaplicki, Śliz). This arrangement is only symbolical – if we take a look at the artistic achievements of some of the presented artists, we would notice how their attitudes shift within the frame of the established criteria, which means that meaning mixes with construction, analytical intention with transposition, and the scientific reception of dispersal of light, colour, line and shape, yields to organic emotional stimulus.
curator: Urszula Śliz