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
Silent Interior II, bartosz beda paintings 2015

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

2013 – selected

bartosz beda paintings 2013

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