I am developing a new body of work at GoggleWorks artist-in-residence. At the moment I explore large scale paintings that I will be able to share in midd August.
These are small size paintings on canvas paper or acid free painting that are mainly an hour or less studies for my bigger pieces.
You can view all these studies here.
During my summer residency at GoggleWorks, I have decided to engage with the issues and challenges that minimum wage workers face every day. After researching about Reading, PA prior my arrival to residency, I decided to focus on immigrants from Mexico and Puerto Rico, who’s population is growing in Reading, as well as represent in this project a struggle of all people who need to meet the demands of daily needs by getting a position that often isminimum wage. In some cases, the language barrier also limits an individual’s capability to get a job in the profession they were trained, resulting in them being underemployed in low-paid positions.
For this occasion, I decided to paint one hour per day throughout my residency at GoggleWorks. Each day, the resulting painting, produced in one hour of work, will be offered for sale at $7.25, or Pennsylvania’s minimum wage.
At the end of the project, all proceeds from 64 individual works will be donated to the GoggleWorks’ youth scholarship fund.
Please visit: bartoszbeda.com/7-25-project/
The title of these works is “Children of Megaphone”. They refer to Joseph Goebbels family. He served as a minister of proppaganda for the Nazi German goverment in the Third Reich. People called him a “MEGAPHONE”. In this paintings, I am reflecting not only on the past, but also I am trying to see the other human side of Goebbels. It is hard to see the circumstances and forget the eveil in it, but at the end he was also a father. I am not sure where is the main focus of this painting – whether is is history or children of history.
I know how important it is to see artwork before you purchase, but because you are already familiar with my work, you can more or less trust the outcome and I believe you will be interested in the interactive way the art evolves. This process will be an unheard conversation, an ongoing dialogue that happens between the creation of the art and your seeing it for the first time, knowing that it is especially for you. Obviously, this experiment goes beyond the ordinary studio practice of displaying art on the wall or in a gallery. Before you enroll in this process you will want to be familiar with my work, so you can trust the outcome.
Charles Dickens , Alexander Dumas, Dostoevsky and Tolstoy, among others, were published episodically. My project is not unlike their sequential publications appearing one section at a time. Like them there are artists today who are supported by patrons who fund their process of creating art.In modern times, with the rise of broadcast stripping the success of periodicals, and the comparative affordability of books allowing for traditional publishing to flourish, the serial format has seen a decline. I look forward to bringing this idea back in the form of a painting.
These six pieces that you see on your left have evolved into one painting. For more images, please follow: Bartosz Beda SI.
For more information on how to join the Serial Paintings, please go to: store.bartoszbeda.com.
By quality, I don’t mean well-executed art, but thoughtful approach to aesthetics and beauty. Erich Fromm wrote in one of his essay about our spontaneous desires for more and more goods that surrounds us. Our society by building in obsolescence forces me, the individual, to change styling of products, clothes, and even food whether I need it or not. That could also be a metaphor for your question. We desire new aesthetics in the art and follow certain trends. They might be objective or subjective and not necessary bring any new values. But what if there is no beauty anymore? When we reach again that exhaustion of economical goods with next economical crisis, the values might shift again and change the aesthetic approach to beauty. Then, what objective, might not be objective anymore.
I talked more about duality and image selection in this interview for The Sociological Mail.
This artwork titled “I am your chocolate” was inspired by combining an objects that either exist or can be made and painting together. I wanted to bring an idea of practicality of items we use as well as connecting art into one object. It is not a ready made object and it does not fit with the concept presented by Marcel Duchamp, but I like to think of it as something opposed to that. These days almost everything is manufactured and I tried to catch up with something more of a handmade. The choice of the idea is in itself a creative art. On the other hand, it is not an object that has daily functionallity, so saying that this object becomes a piece of art. The way it presented, at least fo me, become a creative art that has its conceptual aspect.
Each year around December and January I paint a portrait of my daughter. This is more of a personal work that has nothing to do with pushing boundaries of painting or experimenting with a new forms. This is for me a diary of her life. I am catching a moment from her life that also reflects a stage in life of my studio. These works refer to fraze carpe diem, quam minimum credula postero, which means or can be translated as “seize the day, put very little trust in tomorrow”. In my eyes these paintings are about catching that moment from present time, as what tomorrow, is unknown to us. This one is number two in the collection.