article, solo exhibition, bartosz beda, paintings 2016, polish artist

Inlander: A Polish artist’s first U.S. solo show lands in Spokane

A Polish artist’s first U.S. solo show lands in Spokane

The work of Polish painter Bartosz Beda is coming to the Marmot Art Space.

The work of Polish painter Bartosz Beda is coming to the Marmot Art Space.

  • The work of Polish painter Bartosz Beda is coming to the Marmot Art Space.

 

Polish artist Bartosz Beda is coming to Spokane, carrying with him some hype for his first solo show in the U.S. at Marmot Art Space in Kendall Yards. The exhibition opens on First Friday and will last through July, with pieces reflecting on social anxieties and lessons of history.

Audiences can capture his style by taking in new paintings for which Beda applies a method called impasto. This is a technique where the paint is laid thickly enough on the canvas to allow brushing and knife-like strokes, providing texture along with the appearance that the paint is coming out of the canvas.

Beda’s work often explores the relation between daily life and human nature, and he describes humanity as a chocolate cake. Beneath the icing there lies more puzzling mixtures of fears and social pathology.

Marmot Art Space curator Marshall Peterson says that there’s a new aspect to this particular exhibition that he’s never experienced with any other visiting artist. Collectors are purchasing Beda’s pieces, with the intent of selling them for three to eight times their original price in the years to come. In the past three years, his works have increased in value by 500 percent.

The opening reception takes place Friday, July 1, from 5 to 8 pm at Marmot Art Space (1206 W. Summit Pkwy.)

For a complete listing of First Friday events around Spokane this month, visitInlander.com/FirstFriday.

 

article, solo exhibition, bartosz beda, paintings 2016, artist

Spokesman Article: Bartosz Beda is an artist on the rise

article, solo exhibition, bartosz beda, paintings 2016, artist

article, solo exhibition, bartosz beda, paintings 2016, artist

Click here to read full article.

From Poland and England, Bartosz Beda is an artist on the rise

For most of his 32 years, Polish painter Bartosz Beda lived in big cities in Europe. He now spends his days painting in the rural Palouse. Shortly after being named as one of Caitlin Art Guide’s most promising emerging artists in the United Kingdom in 2012, Beda packed up his paintbrushes and moved from Manchester to Moscow. That’s Moscow, Idaho, where his wife teaches art as an assistant professor at the University of Idaho.

In 2013, Beda had planned to visit his then-girlfriend for just a month at her new college town before returning to his busy life and art studio in England. “When I got here I already had my solo exhibition scheduled in Madrid, and I needed to produce more work to fill it,” Beda said. “I decided I could just rent a studio here, finish the work, and send it to Spain.”

Three years and several international shows later, the artist – who London’s Evening Standard calls “a rising star” – still rents the same barren studio tucked in a quiet corner of the backyard of a home near downtown Moscow. From a tall table scattered with tubes of oils and cans of drying paintbrushes, Beda works long hours. He’s up at 4 a.m., and sometimes paints until 10 p.m., with only the company of a single photo of his wife taped to a wall by a dusty desk littered with tea bags and camera equipment. But this time Beda hasn’t sent his paintings overseas. As part of First Friday in downtown Spokane, he will hold his first solo exhibition in the United States, just a 90-minute drive away, at the Marmot Art Space in Kendall Yards.

Marmot owner Marshall Peterson still can’t quite believe he was able to book an internationally acclaimed artist such as Beda.

“Imagine you just found out that a young Picasso, Warhol or Dali just happened to be passing through Spokane to exhibit, prior to becoming renowned,” Peterson said. “Would you want to meet them? See their art?”

Beda, who still occasionally travels to work in his Manchester studio, has been short-listed for the Title Art Prize, The Door Prize, and The Saatchi New Sensations 2012, and won the esteemed Towry Award for the Best of the North of England in 2012. In 2014, Beda was short-listed for Italy’s Combat Art Prize, named a finalist for the Williams Drawing Prize in Connecticut, and won second prize for Viewpoints 2014 at Aljira, a Center for Contemporary Art, in New Jersey. In addition to solo exhibits in Colombia, Spain, the UK, Germany and Poland, Beda has participated in nearly a dozen group shows throughout the United States.

Beda said the personal milestone of his first U.S. solo exhibit and the recent exit by the UK from the European Union has, perhaps sadly, become forever connected in his mind. “I try to be a person of the world,” Beda said. “I now see that I can take nothing for granted.”

After initially struggling with what to call his first U.S. solo show, Beda finally settled on “Hear My Voice.” He said, “These three words are my momentum for the entire adventure in this exhibition.”

Beda’s voice has always been fresh, ever since he started winning national art prizes when he was an 18-year-old art student in Poland. “Whenever I have a new show, I have to push the boundaries of painting … to think what will I do next, and how will I do a new subject,” Beda said.

Viewing a Beda painting can be an unsettling experience. In one of his larger pieces for the show, what first appears to be a cheery family holiday at the beach takes on a disturbing mood upon further examination of the blotted out eyes and unfinished and frenetic brush strokes. “You can enjoy the painting, but you will always find something that might bother you,” Beda said. “I like this middle point in the painting with the viewer, where they can go either direction … not sure if it is good or bad.”

The meaning deepens when the viewer discovers the family portrait was inspired by an old photo of Poland’s former president Lech Walesa spending vacation with his wife and kids. The icon of freedom and democracy appears in a couple of other paintings in the exhibit, along with Pope John Paul II of Poland, the first non-Italian pope from the same era of Poland’s overthrow of Communism.

Beda admits the show at Marmot will be his most Polish-centric to date, but insists that the subject choices are more a reflection on what is happening with democracies around the world than a nod to his own personal history. “I don’t know. It could be also a representation of my own transformation or integration with new challenges in the United States,” Beda said.

While much of Beda’s work contains political references, often he finds inspiration through simple internet searches. “I go through hashtags on Twitter or Instagram, and if I find something unusual, than I just type the words in Google and see what kind of image source I can get,” Beda said. “So when I lived in Germany, I was translating Polish words into German, then from German into English, from English back to German, and I always get different results. It’s never defined that this means that.”

Beda’s energetic style, his decisions on what parts he defines and where he smears his paint, produces beautiful objects in themselves. His portraits sell in Europe as fast as he can create them. But, according to a 2013 article in UK’s MoneyWeek magazine titled “Six Rules for Spotting Great Art,” Beda refuses to rest on his laurels. “It would have been very easy for him to continue to create similar works,” according to MoneyWeek. “(But) he has deliberately challenged himself to evolve his practice.”

Beda doesn’t shy away from pursuing greatness through his art. “There are a lot of great painters but only few between them who are really trying to understand what painting is or how a painting can be changed to still keep it fresh as a medium,” Bartosz said. “Finding new ways of reinventing myself is really important.”

Reach visual arts correspondent Audrey Overstreet at overaud2000@yahoo.com.

Bartosz Beda

Expose Art Magazine: Encountering Bartosz Beda: It’s personal

Expose Art Magazine - December 2015Expose Art Magazine - December 2015 Expose Art Magazine - December 2015 Expose Art Magazine - December 2015 Expose Art Magazine - December 2015 Expose Art Magazine - December 2015 Expose Art Magazine - December 2015 Expose Art Magazine - December 2015 Expose Art Magazine - December 2015

 

Encountering Bartosz Beda: It’s personal 

Georgia Tiffany wrote an article about my paintings for December Issue of Expose Art Magazine. The article includes my recent paintings and pictures from my studio.
For more information about digital copy or hard copy of the Magazine, please go to Expose Art Magazine Website.

 

(…) Provocative.  Disturbing.  Intriguing. Every painting in the room.  But none of his work compelled me more that morning than the collection in the folio of ink drawings which he placed on the floor and turned page after page.  Lines and diaphanous smears, color running or strangely contained to blur or define each portrait, all eight faces revealing only one “functional” eye, the other either totally hidden by the hands or blackened as if gouged or disfigured or framed by the subject’s thumb and forefinger as if to focus the lens before taking a photograph.  Of whom? The viewer?  To see or not to see seems to be a thematic thread, every one of the portraits evoking its own narrative. (…)

GEORGIA TIFFANY, POET AND WRITER

 

studio visit, fresh paint magazine

Fresh Paint Magazine | Studio Visit Interview

Fresh Paint Magazine, Bartosz Beda


Bartosz Beda


Bartosz Beda received his  BA (Fine Arts) in 2011 and his MA (Fine Art) in 2012 from Manchester Metropolitan University, UK. He was a recipient of 6 months Scholarship in Dresden, Germany. Beda was selected for the Catlin Guide for most promising emerging artist in UK. He has exhibited in solo exhibitions at Liebre Gallery, Madrid, Spain; BAC Gallery, Bogota Colombia, The Studios, Manchester, UK. He has participated in group exhibitions including New Sensations, Saatchi Gallery, London, UK and Detail, H Project Space, Bangkok, Thailand.
www.bartoszbeda.com

Studio visit, fresh paint magazine

FP: In your bio you mention that you travel a lot between the U.S. and UK. Do you always make work in the studio or do you adapt to creating during travel?

BB: It is a great opportunity to be able to live on two continents and to make paintings in two different parts of the world. It is much more refreshing for my mind than only holiday travels. The experience of going to the place I know and where I have worked before is priceless and gives new means of freedom. This little change brings satisfaction for many aspects of my life.

Now, we are living in a global village in big cities. Some of them are strategic cities where smaller transformations lead to changes in social dynamics. All of them are a part of larger transformations. Today, it is not enough to be based in one place or one city. The best I can get from what I do as a painter is coming from the experience of different styles of life, on two different continents. My practice is not limited to only painting, I practice a ‘life’ in various cities and different cultures. My painting is a part of this global environment where anything is possible.

These possibilities of taking my creativity from one place to another also cause struggles and require survival skills in the global village. I believe that cities themselves are not a jungle anymore; they are where you find your way to live. The real challenge right now is developing the capability to move among them and to identify them as one of your homes to which you come back whenever possible.Studio visit, fresh paint magazine

FP: How would you describe the subject matter of your work?

BB: I oscillate between abstract and figuration. I use images as a starting point and the selection of them can be pretty random. However, my paintings have a consistent subject matter. I am painting subjects related to religion, history, politics and other interests. My paintings are derived from the reflections I have based on the effect of a particular moment in time, and they are moments, which influence my daily practice. This gives me the ability to communicate with the viewer through my manipulation of an image.
Through my work I explore the parallel between daily life of human needs and the connection of people to visual sources found on personal mobile devices like phones and tablets. These everyday tools are stimulating our perception and imagination by hypnotising us more easily then ever with ideas and concepts, which very often fail in practice and have nothing in common with reality.Studio visit, fresh paint magazine

FP: What medium and technique do you typically work with?

BB: I work mainly with oil paints. Perhaps I like the smell of oil paints in my studio. It reminds me that I am a painter. It is a very interesting medium and allows me to experiment with surface and different methods of paint application. I believe that it is not always about the technique, but what I really want to say through painting. I am often times very rough with canvas surface.

FP: You moved to the UK from Poland. How does your personal history make its way into your paintings?

BB: Since age of seven, I always wanted to be a painter and do big things as an artist. I was doing everything to make it happen and began developing my skills in all fine arts as early as I can remember. I was very good in sculpture and there was a moment when I almost decided to become a sculptor but I found that I had an aptitude for painting. It was during the time when I worked for animation production ‘Peter and the Wolf, which got later an Oscar Prize. I had been working on scaling puppets made by another sculptor and she was motivating me to be a sculptor. I even made a sculpture portfolio. Then I went to the UK and decided that I needed to follow my heart and focus only on one thing, which I truly believed was painting.Studio visit, fresh paint magazine

None of the fine art mediums are easy, but I think that painting is the most challenging of them all. Painting has only a two dimensional surface to explore and the history of painting behind it, this doesn’t make it an easy medium at all.

FP: Your work often involves the figure, who are the characters depicted in your work?Studio visit, fresh paint magazineStudio visit, fresh paint magazine

BB: The figures depicted in my work are random people, family members, or historical / political figures. My concept is to manipulate images that people find in day-to-day life accessed through mobile devices. I am interested in reactions that viewers will have on the exhibited paintings, and I expect viewers to be surprised by how much images control and cause anxiety.

I am also inspired by words. Often times they decide what I will paint next. It was that way with the ‘Temptation’ paintings, where I was intrigued by origins of that word and it’s meanings in the culture. The definition of the word temptation says that it is a desire to do something wrong or unwise. The range of interpretations and meanings are wide. The paintings subject is beyond religious contexts. The concept of the word temptation can create a much different image for persons who have not seen the painting, but have an ability to imagine it, as something not related to what we consider as a holy. It is related directly to our personality and our ability to recognize the context without experiencing it. The emotional response appears once we experience something in reality. The attention and knowledge about temptation is obstructed, because what we see in paintings is holy and that is how we accept it. In fact, this representation of what is in the painting seems to work ultimately against the title. It is a particular condition for being human that we can isolate ‘temptation’ from all other concepts in our consciousness. The large and small scales of the paintings provide a dynamic back and forth conversation between the viewer and the paintings. The gestural application of paint is living in a mysterious space, where one thing becomes another.Studio visit, fresh paint magazine

FP: Where do you find your inspiration?

BB: Many things inspire my work. The fact that I am speaking a second language is one of these sources of inspiration. By playing with English words that have some impact or meaning for me, I am able to visualize concepts for paintings.

I am constantly on the move and that inspires me to paint too. I have my studio both in the United Kingdom and the United States. When I am in Manchester, obviously the big metropolitan city has a different impact on my work than a smaller college town in the United States. Manchester appears to be more about identity, labor, work and communication. It is a post-industrial city, where I can still sense an industry connection and that reflects in my work. My latest two paintings I made there ‘Labor I and II’ are strictly related to people who still work in industry. My work there reflects the busiest moments in life and is more about here and now, constantly on the move.

When I go to the United States, I am surrounded by a calm environment, where I am not involved that much with a city life. My work is different there, more colorful. I spend more time with each painting and contemplating the process of making each painting. The satisfaction is different.

FP: You seem to have a genuine love for painting. Where do you feel this medium is heading in today’s art world?Studio visit, fresh paint magazine

BB: I am a painter and I want to make an impact in the painting world, but I don’t know if I am the right person to answer this question. It is like estimating the value of diamonds. The experts are rarely wrong about the price and value, but at the end, only a few people establish the principles and standards. Also, nobody is becoming an expert overnight. It takes years to be great. As you mentioned, in the first place I have a love for what I do and this love pushes me forward. I think that future of painting depends on us painters, but I don’t think we can easily see where painting is heading.

Focus is the most important tool for me as a painter. Painting is hard work and shouldn’t be taken easily.Studio visit, fresh paint magazine

FP: In your bio you mention that you travel a lot between the U.S. and UK. Do you always make work in the studio or do you adapt to creating during travel?

BB: It is a great opportunity to be able to live on two continents and to make paintings in two different parts of the world. It is much more refreshing for my mind than only holiday travels. The experience of going to the place I know and where I have worked before is priceless and gives new means of freedom. This little change brings satisfaction for many aspects of my life.

Now, we are living in a global village in big cities. Some of them are strategic cities where smaller transformations lead to changes in social dynamics. All of them are a part of larger transformations. Today, it is not enough to be based in one place or one city. The best I can get from what I do as a painter is coming from the experience of different styles of life, on two different continents. My practice is not limited to only painting, I practice a ‘life’ in various cities and different cultures. My painting is a part of this global environment where anything is possible.

These possibilities of taking my creativity from one place to another also cause struggles and require survival skills in the global village. I believe that cities themselves are not a jungle anymore; they are where you find your way to live. The real challenge right now is developing the capability to move among them and to identify them as one of your homes to which you come back whenever possible.Studio visit, fresh paint magazine

All images courtesy of the artist
Fresh Paint Magazine, Bartosz Beda

Fresh Paint Magazine

Fresh Paint Magazine, Bartosz Beda
Issue 9 October 2015

 

Fresh Paint Magazine, Bartosz Beda

Fresh Paint Magazine

I am pleased to announce that my work has been selected for October issue of International Fresh Paint Magazine, which will be available also during the Freeze London.

Click here to see Flat Emotions and Stream Face II.

Fresh Paint Magazine, bartosz beda

www. b a r t o s z b e d a .com

Bartosz Beda received his BA (Fine Arts) in 2011 and his

MA (Fine Art) in 2012 from Manchester Metropolitan

University, UK. He was a recipient of 6 months

Scholarship in Dresden, Germany. Beda was selected for

the Catlin Guide for most promising emerging artist in

UK. He has exhibited in solo exhibitions at Liebre Gallery,

Madrid, Spain; BAC Gallery, Bogota Colombia, The

Studios, Manchester, UK. He has participated in group

exhibitions including New Sensations, Saatchi Gallery,

London, UK and Detail, H Project Space, Bangkok ,

Thailand.

My paintings explore the relation between daily life

and human nature. I perceive humanity as a chocolate

cake, where beneath the ‘iced’ surface lies those more

intriguing and challenging mixtures, with fears and social

pathology.

Through the application and process of painting,

I cut a piece of that cake to explore the nature of these

problems.

Simple yet powerful gestural strokes and mark-making,

search and re-investigate solutions to bring these hidden

depths to the surface.

Manchester Evening News, Bartosz Beda, paintings, artworks

Manchester Evening News

Manchester Evening News, Bartosz Beda, paintings, artworks

Manchester Evening News, article by Katie Butler

If you are interested to read online version of this article, please go to the Manchester Evening News site. The article was published online and in the hard copy on 19 July 2015.

Please also visit my studio.bartoszbeda.com where I posted the ‘Back in Manchester’ news.

Artist Bartosz Beda

Manchester is the most inspirational city in the world, according to a Polish artist who has moved his life to the city.

Bartosz Beda feels so passionately about Manchester that he is willing to be parted from his wife, who lives in America.

The 31-year-old says he does go back to the USA to spend time with his partner but enjoys the city life here too much to leave permanently.

He said: “I studied at the Manchester School of Art and just loved the whole city.

“There is so much inspiration here. The people and the buildings. The main thing I love about Manchester is there are always events going on which makes it very modern and thriving.

“Yet there is so much history based around the industrial revolution. And it’s the relationship between the two that I find most fascinating.

“To have this opportunity in Manchester is priceless.”

 

REVOLUTION: The industrial past and modern present is a great mix for creative people

He rents a space in Rogue Studios, off Chapeltown Street, where he and around 100 other artists create their work.
The building – which was formerly a factory – has been home to artists for the past two decades and celebrates its 20-year anniversary later this year.
“The space here is fantastic, there is so much history to it and it has a story to tell.
“That’s what I love about the city. Inspiration is everywhere.”

His work has been featured in the Saatchi Gallery in London, with exhibitions in Madrid and Bogota, and he worked on the Oscar-award winning animation Peter and The Wolf, in 2005.

 

Photos: Eddie Garvey
INSPIRATION: Bartosz can find ideas everywhere

He added: “Manchester has everything that London has to offer but here the people and the atmosphere is so much better.
“There is time to wind down and slow down, rather than be busy and bustling all day every day. It’s very refreshing.
“That’s why for me, Manchester is the best city in the world for artists and I can not see myself leaving here.”

His work is priced between £500 and £8,000.

 

Photos: Mark Waugh
BEST: He says Manchester is an excellent city for artists

He said he draws inspiration from the feeling of a place, rather than specific buildings or faces or scenery.“I want my art to be something to look at and think about.“It’s not all pretty so people look at it and think it’s nice and forget about it. I want people to be challenged in what they see.”

He mixes abstract styles with portraits.

 

DSC_0174

Alumni Stories

Art by Bartosz Beda, Manchester School of Art

Alumni Stories

About my career

When I was an undergraduate student, I was influenced by my tutors and other artists, but when I was studying for a Master’s degree, I was taught to be creative and independent. I believe that this mix of influence from others and individual independence is a good mix for development as an artist.

After my BA (Hons) in Fine Art, a gallery in London picked me up and since then I was able to meet and connect with collectors. When I graduated from the MA, I was selected for the Saatchi New Sensations 2012 and I was awarded a scholarship to Dresden Academy of Arts. Since then, I have been working as a full-time artist and I exhibit around the globe. I have my studios in both the United States and the United Kingdom.

I consider myself a painter of mostly representational paintings, but I also experiment with other forms of painting. This includes a mix of abstraction, figures, and objects, whether they are found or made from a scratch.

Bartosz Beda, Alumni Stories

I consider myself a painter of mostly representational paintings, but I also experiment with other forms of painting. This includes a mix of abstraction, figures, and objects, whether they are found or made from a scratch. I create different kinds of themes for each solo exhibition and each has different inspirations behind them.

Manchester is a great place for artists. I found that MMU provided me with the same resources that I could find in London; it had everything I needed to become a full-time artist. I believe that I was determined enough to work together with tutors to make sure that I could get the most out of my university experience and succeed after graduating.

My top tip for students is…

Tutors are there for you so listen to them carefully because your success is their success. Use your time properly and think about the study professionally. Your profession starts with the first day of your study.

I’m inspired by…

I found Sharon Hall a big support, who herself is an abstract painter, as well Ian Hartshorne, who was always around and shared his experiences. Both tutors were there for students and they knew exactly what each individual needed. I also can’t forget about Pavel Buchler, who is a great mentor and art supporter.

Why I love MMU

I loved the professionalism of MMU.

 

Explore Bartosz’s work on his website: bartoszbeda.com

 

For more information go to: Alumni StoriesGraduate scoops national art prize

Art by Bartosz Beda, Manchester School of Art

Graduate Scoops National Art Prize for ‘Gandhi’ Painting

15 October 2012Art by Bartosz Beda, Manchester School of Art

national art prize: Artist impresses judges with unusual Gandhi portrait
Art by Bartosz Beda, Gandhi

Gandhi – study from memory

 

MANCHESTER School of Art graduate Bartosz Beda is celebrating after winning the northern section of the national art prize at National Open Art Competition.

Bartosz, who graduated with a Masters in Fine Art this summer, beat off competition from hundreds of entries to win the £1,000 prize with a portrait of the Indian leader Ghandi painted from memory.

He said that winning the prize was both “exhausting and exciting”.

“The painting is not really a direct representation of Gandhi; I was more interested in the idea of a portrait from memory and finding the concepts behind the painting,” he said. “So colour is the most important thing.”

Inspired by industry

Bartosz, who was also shortlisted for the Saatchi New Sensations prize is currently spending six months studying at the Academy of Arts in Dresden, after receiving a scholarship. But he says it was his time spent at the Manchester School of Art which allowed his creative talents to blossom.

“When I came to Manchester I began to love the city because of the industrial feeling of the landscape and the people, who are very focussed on industry, but at the same time the city has an artistic life – it is a very different experience to Dresden,” he said.

Now 28, Bartosz says he was just seven years old when he told his mum he wanted to be an artist when he grew up. Six years ago he started to concentrate on painting, and particularly the ways in which this traditional medium can be made relevant.

“I would be silly to say there is no tradition – the tradition is every painter,” he says. “The problem is what we can do with it to make it more contemporary and fresh for the viewer.

15 October 2012

 

Video 2012

Film by Sam Norton and Soraya Gilanni

A film by Sam Norton and Soraya Gilanni, 2012.

The film was made in spring 2012, when I was about to complete MA course in Fine Art at Manchester Metropolitan University.

AN Magazine

AN Magazine Interview

AN Magazine

GRADUATE INTERVIEW: BARTOSZ BEDA

By: Richard Taylor

 

Bartosz Beda is fast approaching the completion of his MA at Manchester School of Art in September 2012 with a slot in Saatchi New Sensations to follow straight after. We talk to the artist about his multi-lingual practice ahead of further exhibitions across Europe and a six-month scholarship at The Academy of Fine Arts in Dresden.

Born in Poland in 1984, Bartosz relocated to the UK in 2008 to study at Manchester School of Art. After graduating with a BA (Hons) in Fine Art in 2011, and appearing in the 2012 Catlin Art Guide, he then progressed onto the Masters programme in Manchester to develop his practice as a painter:

Richard Taylor: How would you explain your painting method?

Bartosz Beda: My paintings explore the relationship between daily life and human nature. I perceive humanity as a chocolate cake, where beneath the ‘iced’ surface lies an intriguing and challenging mixture of fears and social pathology. Through the application and process of painting, I cut a piece of this cake to explore the nature of these problems. Simple yet powerful gestured mark making is used to search for and re-investigate solutions that bring these hidden depths to the surface.

RT: As your work makes use of the universal language of paint, how is it different showing work in one country and then another using this language to communicate?

BB: It is like watching the same movie twice but in different languages. Suddenly, you realise that you cannot translate the same dialogue to another language exactly. To understand something in context, very often translation has to be changed from the literal or original form and this difference matters when you consider how translation then affects meaning. A similar thing happens with a work exhibited in one country and then another. But visual language confuses the act of communication and becomes an act of interpretation. Historical, political and social aspects are very important too; they impact and decide upon the universality of paint as a language.

For example, when I painted a portrait of Marx, for my Dad, it was a reminder of communism and the loss of human potential and energy as a result of an ideology that failed in practice. Here in England, Marx is a thinker who wrote ‘The Communist Manifesto’ and was buried in London. Both contexts are fine in as much as they provide a dialogue with an artwork. Also, painting is a good medium for expression, because you don’t need any special subject matter for a viewer to enjoy the artwork.

RT: What sort of works are you showing in the exhibitions you have planned this September?

BB: The first exhibition is ‘Head & Whole – Talking Heads’ at Abbey Walk Gallery in Grimsby. This is a group show and I will present work that deals with opposing colour and line making to stimulate the illusion of portraiture as subject matter. Both in drawing and painting harmony is created to dominate surface components, so the importance of subject matter is not accidental but rather a debate between line and form.

In my solo show at Galeria Rynek Sztuki 7 in Andrychow, Poland, I am planning to exhibit works that are emotive of the different stages and facets of memory. Some paintings will present a reality based on research in to photography and family albums. Other paintings will use the memory of objects and places as a starting point, to create a tension on the canvas.

I was also selected for ’53 Degrees’ at School House Gallery in York. Here I will exhibit two paintings that use colour as an enigmatic tool in avoiding direct representation. Instead more arbitrary decisions in the use of colour are used to clarify self-expression.

 

Art by Bartosz Beda, Interior with Chair Art by Bartosz Beda, Gandhi III Art by Bartosz Beda, Unreal Table

RT: What do you expect to gain from your scholarship in Dresden, and when do you go?

BB: The scholarship is an exchange with Manchester School of Art and I go straight after my MA Degree Show. This means I will step directly from one studio to another without a break. I am very excited!

There are solid things in my daily approach to canvas that still need development and, in context, better understanding. The scholarship will be a good opportunity to comprehend my role outside Manchester, a reason to take my paintings out of their current surroundings and confront them with a different culture and tradition of painting.

Whilst in Dresden I want to comprehend how creativity and conceptual understanding are going to be stimulated through the freshness of a new city, studio and people. In order to develop my painting skills I will absorb the knowledge of professors and make the most of a competitive questioning of the role of painting, in confrontation with other students. All this will help me understand what inspires a new body of work and how this influences professional development after scholarship.

RT: How much of Manchester will you take with you?

BB: All the experience gained at Manchester School of Art can be use to re-investigate my practice in new place. The MA course has challenged my day-to-day examination of image and image source, which I used as a starting point to support individuality as an artist. I wish to make Manchester my place to live and work, but I want to extend my professional practice widely and I plan to indicate my presence in Dresden as an active painter.

 

Richard Taylor

Richard is an artist/writer living in Edinburgh. He works as online editor on behalf of a-n The Artists Information Company for the Degrees unedited and Students community sites. He also produces art news for the a-n News site.

www.rich-taylor.co.uk

First published: a-n.co.uk August 2012