Karina Wisniewska
The abstract works of art of artist Karina Wisniewska combine music and painting to form a lively symbiosis that derives its power from the opulence of the moment. It is from the moment, the here and now, that the colours and the structures that paint our world arise. With virtuosity and nevertheless straight from the heart, the artist probes boundaries way beyond the actual canvas – and creates a feeling of infinite expanse.
Karina Wisniewska’s paintings are sonorous pictures. The spaces and lines of colour – acrylic streaks enriched with natural or dyed quartz sand – are full of apparent fluidities, reflections and intangibilities. Structured and random aspects lead to a suggestive natural landscape. The roots of these pictures lie in memory and in an association of feelings and recollections. There is nothing concrete to identify, but neither are they governed by a chaotic juxtaposition of lines of force and colour, of geometric and magical vagaries. All is open and all, at the same time, seems structured. An order of chance and structure that creates a new reality of space and time.
Wisniewska‘s painting is one of time and movement. It is not static, and its balance is fragile. The lines, which thicken and grow thinner again, seem to shift. They merge into one another, forming a gently billowing tissue. At times they allow the eye to penetrate through them; at times they conceal what lies beneath. First of all we recognize only lines, colours, proportions and suggestions of shapes. Gradually an impression grows of the existence of a second order of nature. What we see are diagrams of energies, structures, force fields, fine crystalline patterns that we think we can recognize because their naturalness leads us to suspect that we are confronted by similar structures to those in which nature reveals itself. This visual perception occurs via our feelings and is based on the fact that we carry within us archetypes or prototypes of the landscape and nature. Over and above these images, which are entirely personal and unique to the individual, is the hint of a deeper connection between the personal world of expression and the universal in and around us, the familiarity of a strong sense of recognition. In this can still be seen a love of the wonderful act of creation defined by Franz Marc as the aim of art: “to trigger the entire system of our individual feelings and impressions, to reveal an unearthly existence that inhabits the space behind all things”. This special mood gives these pictures their great sonority, the belief that there is a distinct point at which the inside and the outside, the near and the far, the spiritual and the material converge, and that arriving at this point represents the re-consummation, at a universal level, of a unification with the material world.