At Berlin Art Week 2015, I participated in the exhibition organized in Storehouse Jandorf One of the artists that caught my attention was Grzegorz Klimek.
Grzegorz Klimek is a Polish artist who studies painting on Academy of Fine Arts in Breslau. He uses various techniques that give this end effect through smoothing, scratching and repainting, which gives very unique structural effects. The elements in his paintings and their composition strike with their beauty and elegance. Above all, the simplicity his paitings play very well with the varied techniques he applies. The surface of his paintings came into being through his application of self made products.
In a conversation with the galerists from Breslau I found out that among others he experiments with a production of a preparatory coating (primer or undercoat). Priming that usually ensures better adhesion of paint to the surface, plays here an important esthetical role seperating the smooth background and the main element of the picture as the sculp or a corp of a body. Production of the primer, experimenting with the hues and application of resin make him resemble more a renaissance craftsman than a young contemporary artist.
The hierachcal and monumental depiction of the sujet reminds us on iconic images of the figures of adoration known from early Christian maserpieces of arts such as Byzantine Mosaik in Haga Sophia or Church of San Vitale, Ravenna. In this sense we think of an icon as a painted panel with a golden background and an abstract portrait of Jesus of Maria. Whereas in the byzantine arts the background is of gold, in Grzegorz Klimek sculp paintings we see the opposite.
Among the works of contemporary artitsts, we can find a strikig reference with the works by Damian Hirst For Heaven’s Sake or For the Love of God .
Damian Hirst – For the Love of God
The monumental and religious motif might also resemble the monumental works of the contemporary sculptor
Ron Mueck
