blast of absolute, bartosz beda paintings 2014

2014 – selected

Bartosz Beda paintings 2015

The WIP Projects featured Bartosz Beda

The WIP Projects: What is Painting?

 

The WIP Projects featured Bartosz Beda

The WIP Projects featured Bartosz Beda

The WIP Project: What Is Painting? We thought it would be interesting to ask painters this simple yet complex question. This query comes with no ground rules—it’s up to each individual artist to find their own approach and direction.

This project will be an ongoing exploration … let’s see where it takes us.

What Is Painting?
by Bartosz Beda

I paint everyday, however, it is definitely to early for me to answer that question with the precision that I would like too. To define ‘what is painting’, I cannot forget the art history, the social changes and the role of the painting as a medium. Mark Rothko was asked once how long it takes him to paint one painting and in reply he said ‘whole life’. It sounds like a joke or cocky reply, but when we begin to think about it more, his answer was very careful and thoughtful. In order to understand what painting is, we need much more than a definition from an art history book.

I searched in Google the meaning of ‘painting’ and I got so much information, definitions and essays about the subject that I got the feeling that everything was already told and I don’t need to add anything else. Then, what is so magic about painting? Maybe the fact that painting comes through a social and cultural metamorphosis resulting in a new and fresh perspective? Painting has never stopped being important and surprising for painters.

As still young artist and painter, I do not know if I have a right to speak about this medium, as the answer is as complex as the question itself. I would like to find a new perspective in painting and change again the understanding of what it is.

Painting is an experience. If I want to experience a painting, then I am interacting with the surface face to face. That close interaction establishes a relationship and expresses my madness and mimesis. This allows me to focus on the here and now, which means that I am trying to understand what I can do with the process of painting and painting itself. It could happen through a simple act like refreshing my view on the painting by viewing other artworks by other artists. This allows me to be in the right time and space, and it helps me to create my own definition of a painting.

Today, more then before, painting is classified into definite categories. There are many categories of paintings. I would like to focus and distinguish only three, which so far, have resulted from my experience in the studio. The first I will call undisguised painting, that shows the images, which are excluded from painting and constitute a trace of history or defined image of photography. From my own experience the use of photographs as a starting point is nothing new and the fact that in most cases they do not represent anything particular is also common. They are pure images, which turn into something new in a painting and that brings importance to the experience with the painting.

The next category I shall call superficial painting. This kind of painting shares something that is insignificant and irrelevant, but still contains the essence of a subject. These kinds of artworks are easy to digest, without special meaning but often times well painted. They intrigue a viewer and circulate in the society, but they do not change the history of painting.

The third category I shall call meditational painting. This is a kind of painting is the kind I want to spend hours viewing. It is a perfection of the act of creation, with which even a god would be amazed.

I am learning everyday what painting is. I know how to do it. It is like a making my best coffee. You know a recipe, but no one can tell you how to make it the best, because it all depends on many elements. This is the constant factor in my day-to-day studio practice. I improve with every next painting, even if I consider the painted piece as not successful. I do not paint realistic paintings, but rather deformations of objects or people. This is the opposite of hyper-realistic or abstract paintings where the nature of described things is similar to what a viewer can understand. I define more clearly and expressively emerging hues and shapes on the painting’s surface, this is what I believe makes painting more “painterly”. I would compare this to the Socratic theory on the soul of an individual as a spiritual insight of philosophical knowledge. So, the soul is defined as a moral and intellectual awareness to what we know and what we try to understand. This can be achieved through self-evaluation. Applying this to my paintings, I would explain images as an evaluation of myself as a painter and they are used to create a specific communication in relation to others. The whole concept of making a painting is based on my reflections of a particular moment and how it influences the viewer and me. This would be like looking inside a soul by investigating a painting.

I am interested in reactions that viewers will have from paintings, and I expect viewers to be surprised by how much images control and cause anxiety. There is not one recipe for understanding painting, but there are many I can use to make it my passion.

Art by Bartosz Beda, One Side Other Side III

One Side Other Side III

 

Bartosz Beda, One Side Other Side III, 77 x 77cm, 2014

Review of Blast of Absolute, Expose Magazine, Dec 2014

Bartosz Beda currently on view at Bogota Arte Contemporaneo (Columbia)

PictureRepresentation and Abstraction in the Work of Bartosz Beda

By Anna Niebrugge
Published by Expose 
Currently, it is up at Bogotá Arte Contemporáneo Gallery of Bogotá, Columbia, where it will be available for viewing until January 9th, 2015th.  The space is large and comfortably filled with the paintings of Bartisz Beda.  The show consists of an impressive 53 artworks and 2 videos.  The way that the paintings are placed around the gallery feels very intentional.  Some are raised higher on the walls and some lower; a few so low that the viewer must look down on or even bend down, which creates an interesting interaction with the work.  The result is a show that pulls the viewer in, creating an engaging and thought-provoking experience.
Beda’s work is composed of built-up paint and carefully rendered faces or objects which are intentionally marred and fragmented.   The surfaces he paints on changes for each piece, from paper to canvas to sheet metal; it depends on the painting.  His medium of choice is oil paint. Working wet on wet, he allows the paint to mix on the surface and build up very thick in some places, while allowing the surface to peek through in others. The subject matter is both representational and abstracted; first the subject is painted and then parts are removed or altered. The subject matter uses historical, biblical, and well-known people, religious objects, and his own likeness to explore ideas of human expression, feelings, and self. In the center of the room is a sculptural display of thirty small paintings, cascading down a pillar.  It is a collection of marks made while Beda was working on this show. The installation speaks about reuse and recycling and the idea of putting effort into keeping the earth clean.  The paintings along the walls are set in groups, each group illustrates a concept the Beda works with. In the painting Heal Thyself I Beda uses the image of a dictionary and St. Peter to explore the human intentions: its transformations and subsequent fears .The artist, Bartosz Beda is originally from Lodz, Poland. He earned his BA and MFA in the United Kingdom and has spent six months in Germany with a scholarship residency, dedicated to developing his artwork.  Beda currently lives in the United States where he is continuing to push and explore his ideas with his paintings.www.bogotartecontemporaneo.com

 view paintings from the solo exhibition here

Blast of Absolute by Bartosz Beda

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