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EXIT, D. GRUBBA, WHEN AN APPROACH BECOMES A FORM    EXIT New Art in Poland, No. 2(66) 2006. Dorota Grubba. 'When
an approach becomes a form' - Jan de
Weryha-Wysoczański1Jan de Weryha-Wysoczański is an artist of vast spaces. He measures the rooms with steps searching for tensions, for learning their properties; their 'reading' starts the process of a certain taming, transforming. He introduces incredibly sophisticated, delicate, meditating objects of wood emanating a rough beauty and raw technology2 effects of many months of struggling in the Hamburg studio. Next he forms ephemeral spheres, softening the interior, immanent in the place - now the nine hundred square metres room of the Museum of Contemporary Sculpture of the Centre of Polish Sculpture in Orońsko. Revelations in Wood and Jan de Weryha-Wysoczański's earlier exhibitions have been considered great artistic events - one of the most beautiful and most thrilling sculpture exhibitions of recent times3. The contact with these sincere attempts at defining the mysteries of nature4 opens the processes of personal epiphanies5 or even panteism and despite the absence of any narrating elements, it provokes an intellectual polemics with the great phenomena of culture and narrating art. The shimmering of The Wooden Table (2002) is built by the chips of rectangular shapes. Only the surface skin -a fragment of tree bark, eludes geometry. What may seem to be an element taken out of nature - is in fact its deconstruction and simulation achieved by the segmentation of wooden pixels. The Wooden Column (2003)- a cylinder massive in proportions, thick as on old oak, evokes respect of a seemingly cult object. It is covered by a vertical arrangement of a multitude of rectangular micro bark fragments - imitating its facture. 'By taking a matrix and decoding the connections, you refute the rule of ' negation work' indispensable for the transcendental memory and refute the work of biological evolution (...) nature and culture (...) in the sense of differentiation of species/ consistence of what exists...6' Subconscious reflection on virtual reality very fast gives way to a therapeutic ennchantment by listening. The roughness of wood chopped with an axe adopts archaic meanings: oikos, the parchment ornaments, Japanese architecture, architecture without architects, eighteenth century wood libraries7 and then Brancusi's wooden sculptures, or specific, now degraded constructions of the so called 'log houses'8. In the horizontal arrangements Weryha-Wysoczański brings into contemporary times the entropies of land art and concretes of minimal art: phenomenological spirit of Carl Andre's works, ephemeral activities of Richard Long, Robert Smithson and other thinkers - the wanderers of the past century. On the other hand he refers to the oldest traditions of world cultures: sand-spilling of mandalas or delimiting the convent zones of contemplation. The contact with these frozen and significant artist's gestures is fascinating; they produce the glittering of the planks with the polychromy of fire, uncovering the natural visualists' pictures in the section of tree veins. The artist multiplies, builds structures, series, alternately merges and takes to pieces, restores the power to dead trees, broken by wind, or meant to be felled, such as young birches - the building material of the central Greek cross-shaped monotone installation, elevated to the rank of art. It is according to them that he set the stages of the route along the active interior, awaking the forgotten sense for the perception of art - smell. Young trees smell beautiful, in the artist's intention provoking a reflection on how important a role they play in the closed complex of ecological clock; their disappearance will mean an end of all beings. The long term contemplative process of mantric division, segregation, ordering and discovering the secrets of nature are for Jan de Weryha-Wysoczański a kind of ritual in which he recognizes and marks space. Physical exhaustion restores the balance of mind - complete peace. First of all there is no division between what is life and what is art. You mustn't hurry, you mustn't lose yourself9. In 1999 in Neuengamme near Hamburg he realised a thrilling monument dedicated to Poles deported after the fall of the Warsaw Uprising and all its Victims. The artist focused here the echos of the 20th century ideas revolutionizing our thinking. about monuments. On a square, ideally polished stone surface consisting of 36 smaller plates measuring 90 by 90 centimetres, he placed in a close architectural order thirty hand-hewn granite elements - indicating the individuality of each human being. The road paved with granite aggregate leading to the monument plate remembers of the gehenna experienced by the concentration camp prisoners doomed to die10. The Memory Zone delimited by the artist from chaos of the world, clean and ascetic makes us stop, calm down and keep silence. Dorota Grubba Jan de Weryha-Wysoczański, Revelations in Wood, Museum of Contemporary Sculpture, Centre of Polish Sculpture in Orońsko, exhibition open from January 12th to May 15th 2006 Curators: Jan Stanisław Wojciechowski and Leszek Golec Translation from Polish to English by Maria Apanowicz Dieser Artikel wurde von Jan de Weryha-Wysoczanski an folgendem Datum: 2022-03-06 22:20:07 eingestellt. Hinweis: Dieser Artikel spiegelt die Meinung seines Verfassers wider und muss nicht zwingend mit der Meinung der Betreiber von xarto.com übereinstimmen. zurück zur Artikelübersicht
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