Creation Processes


I. What is the ideological attitude (e.g. the degree of faith in the sacred,  with the definition of the role this art plays in general)?

I believe that the boundary between the sacrum and the profanum  in the present day is not so clearly outlined as it used to be. There is the phenomenon of  interweaving  of these spheres and it is true. I believe that art can preach, reveal various truths, ideas, including  theological and spiritual truths.

II. The role of the image: is it just a painting or a window? Or screen with images of metaphysical nature?

My pictures are not paintings, nor do I have tendencies to be leading paintings like Kazimierz Malewicz’s, but I agree that they may be something like a screen in which we can see something from the nature of metaphysics. I try to paint the darkness, which is an excess of light, as a consequence  I paint the light. I paint a certain theological truth.

III.  What is the approach to direct creation? Does it matter? Does your  intellectual disposition matter (i.e., for example, strict programming and using any system of structural order) or vice versa: complete relying on  intuition and rejection of "preconception")?

At work in the vast majority I seem to be intuitive, especially about forms, lines, points, systems, mutual relations between them present on the canvas. Searching for color I do completely aware.

IV.  Is it important to continue (or "discontinue") defined painting traditions and techniques  (with possible determination of  the degree of their practical use)?

I use casein for completely different reasons. It is not important for me to continue the old traditions or techniques of painting.  I was drawn to  casein by its strongly matt, light and intense color with a velvety sound. Although I admit that the long years spent with tempera have accustomed me to see true color exactly as in nature (pigments plus binder), they are slightly different than those proposed by paint producers. I was looking for a color without gravity, as light as anything in the icon: characters, objects. Sometimes I have the impression that the casein is on the surface of the paintings and at the same time it rises from it, it has a metaphysical lightness, an  Earth leaving syndrome.

V. What is the emotional disposition (mobilization) when working on a painting?

Something like meditative concentration, self-assertion and total liberation of a spontaneous, involuntary gesture - automatism. I do not know what I will paint. But this is more about projects I create. Because of the technique I use, I cannot apply corrections. Too many layers can cause cracking of the paint surface. The second problem is the inability to cover one color with the other, this applies in particular to laser pigments. Made spontaneously a gesture, a project, I apply with almost 100% accuracy on the canvas.

VI. What are the choices of how to create a composition? Painting gestures and forms flow? Or vice versa: strict field delimiters with use of so-called hard lines? Or without any linear  additions?

A spontaneous gesture located on a large surface of flat color. Strictly delimiting the fields with a heavy line or linear additive. Shapes often refer to circles, oval and they are heavily cut from the background. It is a play among the line, the point and the surface. Field delimiting  is also composed by the presence of sharp color contrasts.

VII.  What are the choices of colors and their combinations (here can be found psychological references e.g. with allusions to emotions and experiences), or spiritual ones (with raising the degree of spiritual purity or can be both)?

Color refers to the icon with its intensity, brightness. It is a festive color proclaiming the joy of the Resurrection.

VIII.  Is symbolism of colors and forms taken into account?

Both color and forms on canvas do not have any symbolic meaning typical for an icon or any other.

IX. What is the "finish" of the image? Is in full mobilization painted directly a homogeneous composition or is it laboriously returned to repeatedly to  complete and " to putty" it (as in postimpressionism)?

I paint directly on the canvas without the possibility of multiple return to it because of the technique used.

X.  Are the images grouped together in cycles or are they rather completely isolated?

Images do not create cycles because they are spontaneously created, I never know what I will paint. But together they form a family.  

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Honorata Wojczyńska
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