Mariusz Knorowski

//Artistic Director of Centre of Polish Sculpture  in Oronsko/

    A contemporary man may be a privileged traveler in the land of art. He can move freely within this space according to his own liking. Knowing its map and history, all its problems he can even be a tourist. Sometimes, taking shortcuts, he accelerates its view. On other occasions his emphatic abilities make him stop for a while in a favourite place or carelessly leave out or omit the whole chapters. It also happens that he visits certain regions more often because the existing set of works of art satisfies his needs for aesthetic hedonism.

    Something similar may happen to the artist who also visits the museum of imagination. He, to a greater extent, can consider himself an inhabitant and therefore has certain privileges.

    He can make catalogues, changes and displacements of the existing properties. He seeks there his origin, sometimes masters, and sometimes unfinished stories. Peeping at others, he does not overview the value of their technique – since it always arouses curiosity in the first place. Occasionally he tries to get an insight into their artistic attitudes, motivations and his predecessors’ choices. Thus his knowledge becomes more profound and allows for deeper reflection before commencing work.

    Every man can according to his preferences make constellation of works of art which fascinate him, or in his opinion comprise convincing arteries and sequences. Some artists derive their experience from the past, with full awareness, or perhaps unconsciously. It does not always amount to the superficial formal similarity or ordinary plagiarism. They may happen to become followers of a view or advocates of a direction or trend, or that they find their place amongst others who are similar or related. They become members of a community of vision. There is more that unites them than parts them – they try to speak a similar language.

    In the history of art there have been interdependences of works of art and artists’ bonds of “kinship” which emerge in  a way by themselves and are seemingly inborn. They do not destroy the existing trends, in opposition to contemporary fashions, or even crises – they assimilate, irrespective of time and place. Their representatives derive their actions from elementary gestures and fundamental truths. They often concern just essential matters. Their imagination borrows from the world of archetypes. The works in their nature remind of the primary things, in a way completed although, maybe not perfect, but at the same time perfect although always subject to improvement.

    Contemporary understanding of sculpture deeply differs from conventional definitions or meanings hallowed by the tradition of the discipline. It is well known that their presence in culture has always been connected with the ritual. Its ancient origin usually had particular repercussions in the history and has not been exhausted in the present times. Irrespective of technological possibilities and an ability of current culture to expand - which seems to be included in its characteristics, just like its immanent tendency to transgress, which enabled it to accustom even virtual space – there must be a nursery from which it originates. Its embodiment is a repertory of rudimentary forms which are cross-cultural and universal, both on a symbolic plane and in poetics of expression. These are sculptures characterised by uniform generic features, whose presence in the world of human imagination and sphere of emotion evoke atavistic reactions.

    Zbigniew Dudek’s creative activity comes from this circle of tradition. His sculpture path runs directly to this source. This is a deliberate and intended choice, and may be irrevocable as well.

    Being a sculptor is not an easy task. The sculptor’s position is not offended by the name of “art workman”, which today – the time of media manipulation, pseudo creation and frothiness – may sound like a compliment. The ethos of sculptor’s work has a concrete dimension and being tangible simultaneously becomes credible. Sculptor’s activity comes into relation both with the time and space, which happens on many planes. In favourable circumstances the emerging work goes beyond temporary time limits. Most of achievements in sculpture, even if not quite successful – have been measured with reference to eternity, intentionaly at least. Not everyone, however, can reach the horizon of eternity. In majority of cases what remains is everyday routine and hardship, resistance of material and strain of will, unfortunately sometimes also oblivion.

    What is crucial for a sculptor is gaining an insight into his own  discipline, kind of retrospection of a continuity of others’ achievements and inspiring return to the origin. It may be an important and instructive education and warning even for an experienced creator.

    In antiquity, which left timeless monuments, sculptor’s work was only a skill bordering on craftsmanship. The domain of art was reserved for poets, who created through the power of imagination, inspired by divine insanity without using physical force, which was oriented towards ordinary trivial matters. The sculpture, like a blacksmith, was identified with a cursed poet and false prophet, and thus his effort in itself was of a mediocre value.

    Disregarding, however, degradation Zbigniew Dudek took the challenge of being a sculptor, and he is perceived in this way, and he works in this way – with enthusiasm and without discouragement. Many things indicate that this work is a source of joy and his works of art are not distant from the traces of big effort and struggle. In his work so far, he has gone through successive stages of initiation and skirmishes with different kinds of material. The methods and means of expressions have been changing. The results achieved show that he has treated them as obligatory lecture, a lesson that has had to be done, because that is what the rules of the discipline require. Due to that, it is the art characterised by truth and honesty. This directly indicates that the author internalized requirements of the technique and has been improving them ever since, which in turn becomes an explicit evidence of his determination.

    Rustical nature of wood, its archaic semantics and symbolic values, apart from real volume, have always invited humility. In return they have brought about monumental effects and unique texture. Sculpture in wood creates possibility of fair and honest dialogue, if the artist has such intentions. And then his effort is reciprocated and generously rewarded. Such an attitude requires, however, concentration and right decisions. Disposing of everything that is not absolutely necessary by subtracting the weight and reducing the layers illustrating the time, the artist reverses the time vector. Following his own intention he brings into being a form overviewed by nature, potentially possible though. It is where the sculptor’s instinct comes into play, which is not always the same as creativity.  Every chop, every cut, every movement of the chisel is a sign of intentions and renunciations.

    With time, apart from wood, the artist started using metal elements as kind of applications, copings and peaks. It is like an interference from another world which sets menacing coldness and invincible hardness against nature.  They are attributes of a rigid spiritual principle which can hollow the matter remaining intact itself. This principle does not band under the pressure and is not subject to deformation. The material, wood in this case, carries matriarchal connotations. A drawing of wood grains is a record of nature’s vitality and is a reservoir of fire according to Persian beliefs. Steel or iron can brake its continuity, injure or even destroy. But they can also strengthen and armour it. Initially such accents are barely noticeable and then their proportions become equal.  Metal decorations imitate wooden hulls, they become their extension, which from the point of view of evolution’s and species’ self-improvement, is a manifestation of adapting to a new environment. The lot balances on the border of relative harmony, and junction points give impression of organic connection. In their solemnity and dignity they remind of archaic totems of long forgotten cults. They proudly present their sharpness and in ecstatic poses suggest a ritual dance. They can also, like apotropaion, keep evil powers away.

    These metal copings are created according to a different principle, it is not subtracting but adding, sewing together successive elements. They boast of their metal  surface, proudly growing in the light and commanding respect with the sharpness of the edges remaining in contrast with the homeliness of a wooden matrix, from which they seem to emerge.

    Direct touch however, allows to asses that they are empty inside, so their threatening look is only an appearance. They may be reliquaries with an unknown content – spiritual indeed- which emanates from the inside of the wood. If it is really so we do not know and we may never find out. Mystery is one of the most essential aspects of art and does not always have to be directly revealed. Undoubtedly phallic affiliations become clear here, which in relation to the above mentioned female references comprises a meaningful whole.

    Metal dominates in recent works. Formed by means of tailor’s patterns whose parts are joined together by tubercular welding seams. They give an impression of figurative illustration or decorative ornaments of extraterrestrial origin which inscribe into the space and fill it. Whether these are projections of visions, symbols of fears or obsessions remains an open question. Their biological character and metallizing surfaces  make a convincing illusion of organic motion by which they want to creep into real world, stick to it and stay there, their sensuality, opalescent cocoons and healed wounds introduce an atmosphere of menacing oppression. Even in landscape parts certain elements resemble a fantastic world related to H. R. Giger’s imagination, which is also peopled by biomorphic creatures embodying the dark nature of a contemporary man lost in true and fictitious labyrinths.

Translated by Marek Dydel