About the exhibition – Piotr Grobliński

When - as a young boy - I learned that there exist a couple of thousands languages all over the world,

I connected this fact immediately with my strong feeling about ambiguity of our everyday sentences.

It looked funny to me that my every Polish word may have somewhere else totally different meaning.
Echoes of similar - though more sophisticated fascination - I can see in the title of Agnieszka's exhibition.

mooie nederlandse...
i.e. beautiful, but also mine Dutch... recollections, landscapes, moods.
[mooie pronounced in Polish means mine - transl. addition].

Is it beautiful because it's mine, because I've experienced it? Or maybe I like it, and it became mine, because it's beautiful?
Saint Thomas would know: Something is beautiful not because we love it, but we love something,

because it is beautiful and good.
But Saint Thomas lived in times of greater certainty than nowadays.

Agnieszka graduated from W. Strzeminski Fine Arts Academy in Lodz as a painter and graphic designer.

Winds of fortune brought her once to the land of tulips and sailors.

On a foreign land it's easy to fall in love - fall in love with blue sky, a bit darker blueness of canals,

plaited chairs in small cafes, museums and parks, flowers and trees.

Yet home is somewhere else - where one has to return, bringing under eyelids memorized images.

Packed together images exchange details and mix with transitory layers.

Placed on a canvas they become records of nostalgia, but also an artistic cogitation,

recognition of oneself, Netherlands or even maybe of hard to catch (because omnipresent) rhythm

- rhythm with which death disturbs the dance of life...

How you can weave a spring with silver?
The structural line: Strzemiński - Fijałkowski - Bigoszewski is interlaced with organic, secessionist thread of personal yarn.
A canvas prepared in such way is then batik dyed with inks of moods, placed in frames of viewed expositions

and embroidered with chaste, pastel themes. Everything is embellished with acrylic glaze.
Complex technique enables the artist to plan details in several layers, yet forcing to view pictures from different angles.

Because the light is the director displacing the emphases... But who is the director of light?
On the 17th century Dutch paintings there is quite often visible a dialogue between foreground and background.

The gold on the balance in front and the Last Judgment on the wall, empty table behind the world map.

Protestant rigour and luxury of rich merchants created tensions emerging not only on paintings, but also in explosions of mass madness.

For example during so-called "tulip fever" the prices of rare seedlings exceeded the prices of houses.

Nowadays the tension between the role of middle class graphic designer and the calling of ascetic artist is lower.

However, maybe the black tulips cut from Agnieszka's paintings and sold piece by piece could achieve

at least the price of a decent suburban apartment?

[translation M.G.]