Astonishing that, not being Italian, Anna Brudzińska fell victim to the fascination with the sky and the blue colour. Astonishing that, being a sculptor, she has undertaken the pains of painting. Naturally, she paints THE SKY. Perhaps there is logic in it. Logic, which we will discover after many years, as it usually happens in case of these painters and sculptors who have become artists.
Her first fascination is indeterminate and limitless space symbolised (and also really experienced) by her constant use of the blue colour. It is not, however, the monochromatic blue of Yves Klein but the sky in motion. This painterly cosmos cannot avoid the differentiation of value and colour – though they are immersed in blue. Her work pulsates due to two fundamental relations: value differences between the background (a certain constant) and the very action of painting fragments of a spiral composition, whose movement leaves lighter and darker flakes of paint on the background. In this way the radiation of the background is disturbed and we perceive it as differentiated in value (although in fact it is not differentiated). I think that the introduction of colour variations into the very action of painting on the monolithic blue background results from the increase of these differences in value. It lets the painter avoid a too sharp value contrast, which would disturb the impression of the limitless depth. It is from this unspecific blue, from these great distances that the coils of matter run towards us. When you want to come closer and look at them closely, they seem to run away in panic – the movement changes its direction. First this painted cosmos runs towards us, then, unexpectedly runs away.
Why the blue? Why the sky? Why the cosmos?
Perhaps because this is how one can experience these compositions, entirely consisting of streaks of paint in the rather narrow range of colours: from green and blue to red and blue. Streaks and drops of paint against a dark blue background. That is all. You do not need more. The Italian sky did not arouse the imagination of Adam Mickiewicz. The Polish sky seemed more interesting to him.
A cold blue like frozen water, and clouds of changing shapes provoked imagination. For him the Polish sky was the most beautiful. Never mind the sky he even found Polish frogs unparalleled.
I think that in Poland one could find analogies to Anna Brudzińska`s Sections of the Sky. First, Mickiewicz and his comparison between the sky in Poland and Italy. Second, blue as a symbol of the artificial world of the contemporary civilisation of images, of TV screens. Third, he reflection of the artificial world of Klein’s and Edward Krasiński`s compositions.
Perhaps Brudzińska, like Zdzisław Jurkiewicz and Barbara Kozłowska, enters another sphere of fascination; wider, but still related to these bands of colour, which answer certain cosmic dimensions. Maybe it is characteristic of Wrocław, that each generation of painters yields at least one sculptor and each generation of sculptors produces at least one painter sensitive to these specific experiences and capable of expressing them attractively. Although from the Sky blue Structures we will not learn anything new about the cosmos, yet we will perceive the sky and painting in a new way.
#annabrudzinska anna brudzinska anna brudzińska #anna.brudzinska Zbigniew Makarewicz