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Bogusław Lustyk (ur. /b.1940)
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Kasia Czerpak-Węgliński


powiększ/zoom

b. 1962

Painting, Graphics, Installations

Kasia Czerpak-Weglinski was born in 1962 in Krakow, Poland. For more than fifteen years, the artist has been living in United States, where she moved after graduating in Painting and Printmaking from The Academy of Fine Arts in Prague, Czech Republic. First in New York, than in Boston, MA, she lectured multimedia graphic arts in Massachusetts College of Art, she finally settled in Los Angeles, CA.

Since 1987 she exhibited her works in over 40 group shows and 12 solo presentations both in USA and in Europe.
She creates series of paintings and installations devoted to a wide range of environmental and ethical issues. She is constantly experimenting with various technologies, using resin, sand, wax, metal, rust and self made pigments superimposed to canvas or paper, metaphorically symbolizing the processes of decay, industrial deconstruction and organic transformation. The process of disintegration and transformation highlights the issue of life and death, the mysterious phases of change, which not controlled, and constituting the fundamental experience of human existence. Her interest in problem of identity and ethics have fruited in a number of objects, paintings and installations, such as “The Miracle of Black Leg”(Museum of Marc Chagall, Vitebsk); “The Life is Coming Back to Paintings”(Capku Gallery, Prague) were problem of “how many body parts you can change and still think of yourself as yourself” was investigated. In recent Los Angeles show ”Organic Meditations” she is using the oil and encaustic painting on canvas to superimposed the clandestine meanings of coded images in classical forms. In another installation “ Strip Down” (Santa Monica College Gallery, Los Angeles), the form of kimono, traditional attire of Japanese woman, was used as an element associated with spiritual values.

Czerpak-Weglinski is finalist of several international art competitions, including Osaka Triennial (1994), Color in Graphic Art, Torun (1993); Prints International (1994); Kochi International Triennial (1993).

Her works appeared in public and private collections; National Children Institute, Tokyo, Japan; Asahikawa Medical College, Asahikawa, Japan; Ino-Icho Paper Museum, Kochi-Ken, Japan; Humbold University, Berlin, Germany; NYNEX Corp., White Plains, NY; UCLA Medical School, Los Angeles.

Artist statement:
„…The aim of this presentation is to show that I, as an artist, have abandoned struggles against the world and have joined instead cooperative and more accessible modes of work. Despite the dominant isolationist esthetics of modern art, artist in OUR TIME have always responded to high profile cultural and social issues, such as wars, depressions, revolutions, human relations, or civil rights struggles.

A wide array of ecological problems remained the major subject of my artistic endeavors for many years. In the shocking beauty of surgical procedures, cruelty of death feeds a new life. A question then arises: Which body parts can you loose and still may think of yourself as yourself? The problem of difference between SELF and OTHER, PERSONAL and SOCIAL, between that which can be controlled and that which cannot be. In these instances, it is the BODY that unites us, and separates us ultimately and irretrievably.

In these pictures you see breakdown of the grid, disintegration, destruction, which is an intermediary step, transition stage on the path to what is called “reconstructive postmodern practice”. In other words, clash between rational order of natural laws of DECAY-DEATH, and irrational imperatives to improve. You see experiments with sand and rust ground into rough cotton fabric or crawling like a second skin over thin grid of corroded iron, which serves as a formal and metaphorical device. Rust signals both dissolution and transformation, industrial decay and organic change. Therefore, it offers a paradoxical symbol of time’s potential for both DESTRUCTION and REGENERATION. There is also no denial in the beauty of rust added to the wrinkled surface of the unstretched, huge cotton pieces loosely hanging down the walls. Their color and gritted texture suggest earth, blood, and organic decay. Post-minimalist contrast between softness of cotton and hardness of stone or randomness of drips became metaphors for deeper contradictions between freedom and confinement, transformation and decomposition…“

Drzewo Utopii /Utopian Tree
Naczynia krwionośne w  świetle indygo /Red Veins in Blue Light
Plytka Petriego /Petri Dich
Misja-czerwony dom 110001 /Operation Red House 110001

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