Mondrian's Tree/ Artur Przebindowski / 11.09.2020 - 24.10.2020
On 11th September, paintings by Artur Przebindowski will fill up the spaces of the City Gallery in Wrocław. The display will be a unique opportunity for the viewers to see how the artist's creative strategies evolved during the last decade.
The title of Artur Przebindowski's individual exhibition refers to one of Piet Mondrian’s most important works created in the first decade of the 20th century. The tree in the art of this Dutch forerunner of abstractionism and the city in the work of the Krakow painter play a similar role – they are a kind of paradigm which the artists use in the process of depicting their own spirituality in all its emotional and intellectual aspects. Thus, a fragment of the visible world, understood as a representation of the artist's inner microcosm, sublimates when translated directly into the canvas and marks the painting with a metaphysical element. The urban landscapes from Megalopolis series make a significant part of Przebindowski's artistic output. The painter creates them by obsessively multiplying geometric forms set on vertical and horizontal structures. The effect of tightly built-up and depopulated districts, sprawling somewhere far beyond the painting plane, initially inclines the onlooker to examine them in social and civilization categories.
Megalopolis LX (60), 167x250 cm, acrylic on canvas, 2015
The artist does not reject these interpretations, he stresses however that in his productions he strives to speak about a human being, and thus also – or perhaps above all – about himself. And indeed, only by distancing ourselves from the strictly intellectual reading of Przebindowski's paintings and engaging in their reception at the emotional level, we gain the capability to notice the author’s metaphorical and spiritual self-portrait in this complicated, labyrinthine and dense net of streets.
At the exhibition at the Wrocław City Gallery the artist also presents his series of signs – pictograms abstracted from contemporary urban space. By making these visual traces of our everyday life independent painting compositions, the artist wants to emphasize the equivalence of the meaning of two complementary city organization systems once described by Walter Benjamin: both the metropolitan institutional order regulated by signs and bans and the spontaneous one, constructed by its inhabitants based on their living relation with the architectural tissue of the place. In this context, the graphic symbols painted by the artist indicate the fluid identity of the city and the need to read it as a kind of palimpsest – an area where successive narratives constantly overwrite.
Signs series, Atalanta, acrylic on canvas, 2013