The first works created in 2016 (open cycle)
Size: 100x70 cm.
Digital print and animations
Description of the works:
The cycle entitled “Meanders of perception” includes graphics entitled: “Afterimages”, “Landscape perception”, “The process of creation”, “What was the beginning?”.
“Meanders of perception”.
We all have experienced moments which made us realise how inadequate and deceptive our vision can be. Our perception may be distorted by external factors, such as limited field of view, poor lighting or our momentary absent–mindedness. The cognitive process did not work as it should have and we only memorised fragments or the images we saw overlapped with other memories. Sometimes we provoke it ourselves. The complementarity of seeing and thinking, knowledge and experience results in aberrations with a surprising deviation from the normal perception of the world. The graphics from this cycle represent capturing and recording of such moments, erring, illusions, mirages and meanders of perceptions, as well as memorisation of landscape.
The cycle entitled “Afterimages” does not illustrate a typical afterimage resulting from the structure of the retina. The graphics are a reflection of images stored in our memory, but connected with the first associations that come to our mind in a specific place and moment or which have a direct equivalent in reality in the form of an observed image/space which arouses emotions. I sometimes become intrigued by a clump of trees or a light far away on the horizon. My memory accumulates memorised fragments of the landscape I see. As a result, an image is created which is a type of compilation manifested in the form of a system of shimmering points, geometric shapes or lines that do not resemble the observed landscape.
“What was the beginning?” is a cycle prepared for the International Conference entitled „Biblical Motifs as a Source of Inspiration for Artists of the Turn of the 21st Century”. The approach adopted was therefore determined by the topic. The works were born from reflection about light and direct inspiration was drawn from the graphics entitled “The island of light” depicting a collection of shimmering pixels emerging from the dark. The island is a light discerned in a night landscape, which most probably embodies a physically existing housing estate. In this case, the cluster of lights is a symbol of the primeval and the unknown – the beginning. Light and darkness, as symbols of good and evil, are present in the deliberations of many artists and philosophers, regardless of the time and era. The graphics are an attempt to find the answer to what might happen next and what will be the impulse for creation. The driving force in this cycle is movement which stimulates changes in the first system. A basic structural change takes place through a spiral turn, a division, a multiplication or explosion, which scatters the elements and creates an opportunity for searching and creating new forms.
The graphics from the “Meanders of perception” cycle were presented at the following exhibitions and reproduced in accompanying publications in: Smolenice Castle Gallery in Slovakia, Jan Palarin Theatre Gallery in Trnava in Slovakia, Nemzetiségek Háza Gallery in Szeged in Hungary, Kotolňa Gallery in Košice in Slovakia and University Gallery in Cieszyn.
The first graphics were created in 2017 (open cycle).
Format: 50x50, 100x100 cm.
“Agglomerations” – is the name of a travel– inspired cycle. Agglomerations are usually densely developed areas inhabited by people and animals. They form integral organism, although it sometimes seems to me that their ingredients do not go together at all. A similar problem was depicted in the cycle I created in 2004 entitled “Unity in diversity” concerning landscape. The theme has therefore returned, yet this time, it regards integrated beings, systems, networks and structures. Without being part of that system, but merely visiting tourists, we often visit numerous places in a very short time, changing our vantage points. We absorb everything we see like a sponge and while we think we know the place, in fact, we know little about it. We have only collected a few different elements and hold a small piece of a much larger whole. The entire cycle has been made in the form of squares size 50x50 or 100x100 cm and it may be presented as one piece of graphics, a type map.
The graphics from the “Agglomerations” cycle were presented at the exhibition in Nemzetiségek Háza Gallery in Szeged, Hungary.
The project was carried out between 2014 and 2016:
Format: large-format digital print, from 70x140 cm to 120x260 cm.
Description of the works.
The series titled “The Field of View (“Pole widzenia”) (an open series) consists of graphics titled: “Structures (“Struktury”), “Screens (“Ekrany”), “Labyrinths” (“Labirynty”), “Crosses” (“Krzyże”), “Lights (“Światła”) and “Afterimages” (“Powidoki”).
The Labyrinths series (“Labirynty”) are based on the observations of repair and construction works connected with the reconstruction of a road. “Labyrinths” (“Labirynty”) and “Crosses” (“Krzyże”) are highly sophisticated sets of screens and roads which are reminiscent of incredible arrangements and impossible figures. It often happens that new motorways are built on already existing and functioning roads. Two worlds collide then: the world of multi-level interchanges, flyways consisting of millions of supports, heavy equipment, concrete, workers and the world of regular users – drivers in their cars. All this gives the impression of a cursed circle of limitations, traps and dismay.
The project was carried out between 2010 and 2014:
Format: large format digital print from 70x140 cm to 120x260.
Description of the works.
The series titled “The Field of View (“Pole widzenia”) (an open series) consists of graphics titled: “Structures (“Struktury”), “Screens (“Ekrany”), “Labyrynths” (“Labirynty”), “Crosses” (“Krzyże”), “Lights (“Światła”) and “Afterimages” (“Powidoki”).
“Field of view” (“Pole widzenia”) is a landscape seen through the eyes of a driver. Landscape has always been of interest to me, its permanence and, at the same time, its variability and unpredictability. In the Screens series (“Ekrany”), I continue my observations of changes that take place in the landscape due to the invasion of acoustic screens. After analysing the structures of the screens, I began to be interested in the spatial arrangement that they form. The way we perceive and memorize screens and the impressions they leave in our heads inspired me to create subsequent graphics.
The project was carried out between 2010 and 2013:
Format: large format digital print from 70x140 cm to 120x260
Description of the works.
The series titled “The Field of View (“Pole widzenia”) (an open series) consists of graphics titled: “Structures (“Struktury”), “Screens (“Ekrany”), “Labyrynths” (“Labirynty”), “Crosses” (“Krzyże”), “Lights (“Światła”) and “Afterimages” (“Powidoki”).
“The Field of View” (“Pole widzenia”) shows a landscape through the eyes of a driver. Landscape has always been of interest to me, its permanence and, at the same time, its variability and unpredictability. The direct inspiration for the “Structures” (“Struktury”) series were the acoustic screens which in a very short time have become ubiquitous on Silesian roads. This is an aesthetic catastrophe and gross mistake. Those screens irritated me so much when driving that in order to make myself feel better I tried to tame them and find something interesting in them. I found out that it is not so everywhere– alongside European motorways, screens are made of various materials and they have different structures and colours. The monotony is eliminated by variety – there are even pictures and other examples of art which make the whole thing memorable and the screens themselves become interesting elements of the surroundings. However, the works from the “Structures” series (“Struktury”) leave the impression of what the majority of screens are: monotonous lines of merging planes and crude colours. These are large-format graphics based on photo and film materials obtained while driving.
The project was carried out between 2004 and 2008:
Size: 50x70 and 70x100 cm.
“From one background” (“Z jednego tła”) is a series created on the basis of one work which served as a background for the series. The inspiration or rather the method of creating individual works came from Photoshop’s layers. I returned to the project at different stages of time creating new versions of it.
The background is a graphic titled “The Mountains of Croatia” (“Góry Chorwacji”) (the first in the series) which was awarded at the Work of the Year 2004 contest and by the president of the Association of Polish Artists and Designers, Katowice branch. The series consists of 26 graphics which have been presented at international exhibitions many times and reproduced in more than 30 publications.
The project was carried out between 2004 and 2008:
Size: graphic miniature 9x25 cm.
Description of the works.
The series titled “The Adriatic Sea” (“Adriatyk”) consists of graphics titled: “The Beach” (“Plaża”) and “Water Creatures” (“Zwierzęta wodne”).
The graphics were created as a result of minor changes in sketches and small drawings made on the basis of observation of small sea creatures living near Croatia's rocky coast. I was intrigued by the way the animals looked, moved and behaved. E.g. they were constantly overcoming obstacles and gathering in groups of regular shapes, etc. Next to the hustle and bustle of the beach, there was a different kind of life going on. A different world.
The project was carried out between 1998 and 2001:
Size: 100x70 cm or 100x140 cm.
My own technique combining classical and digital drawings, digital print. Description of the works. The series titled “Metaphor in the Landscape” (“Metafora w pejzażu”) consists of graphics titled: “Wind” (“Wiatr”), “Mountains” (“Góry”), “Oceans of Grass” (“Oceany traw”), “A Blue Line” (“Błękitna linia”), “Recording Time” (“Zapis czasu”), “The Road” (“Droga”), “Searching for Space” (“W poszukiwaniu miejsca”). The works were inspired by chosen elements of mountainous landscape and based on observations. They are an interpretation rather than a representation of reality. The works were presented at numerous group and individual exhibitions.
They were also part of a series of graphics associated with post-doctoral studies in art graphics at the Academy of Fine Arts in Łódź.
The project was carried out between 2003 and 2005:
Size: 70x100 cm. Description of the works.
The series titled “Unity in Diversity” (“Jedność w różnorodności”) includes the following series: “Two Halves (“Dwie połowy”), “Alphabet of sensations” (“Alfabet doznań”), “Integrated Circuits” (“Układy scalone”) and “A Fragement of a Greater Whole” (“Fragment większej całości”).
The inspiration came from the fascination with systems created by nature or man which co-exist together. An example of such systems are gardens with systems of paths and technical equipment with its interior architecture and individual elements creating a working (or not working) whole. Something as simple as a drawing on a graphic card or a pattern on a tiled stove could serve as inspiration.
The works from the series have been presented as part of a project titled “The Elements – Earth, Air, Fire and Water” (“Żywioły – Ziemia, Woda, Ogień i Powietrze”) and “Night and Day” (“Noc i Dzień”).
The project was carried out between 1998 and 2001:
Size/Format: 100x70 cm.
Original technique combining classical and digital drawings, digital print.
Description of the works.
The series titled “Metaphor in the landscape” (“Metafora w pejzażu”) consists of graphics titled: “Wind” (“Wiatr”), “Mountains” (“Góry”), “Oceans of Grass” (“Oceany traw”), “A Blue Line”, “Recording Time” (“Zapis czasu”), “The Road” (“Droga”), “Searching for Space” (“W poszukiwaniu miejsca”). The works were inspired by impressions. They record brief phenomena and experiences of interacting with nature. The works were presented at numerous group and individual exhibitions, e.g. under the artistic project titled “Żywioły - Ziemia, Powietrze, Woda, Ogień", which received 2nd award at the International Exhibition of Computer Graphics, Opava, the Czech Republic, 2002.
They were also part of a series of graphics associated with the post-doctoral studies in the art graphics at the Academy of Fine Arts in Łódź.
The project was carried out between 1998 and 2003:
Size: 100x70 cm or 70x50 cm.
Original technique combining classical and digital drawings, monotypy, digital graphics, digital print.
Description of the works.
The series titled “Metaphor in the Landscape” (“Metafora w pejzażu”) consists of graphics titled: “Wind” (“Wiatr”), “Mountains” (“Góry”), “Oceans of Grass” (“Oceany traw”), “A Blue Line” (“Błękitna linia”), “Recording Time” (“Zapis czasu”), “The Road” (“Droga”), “Searching for Space” (“W poszukiwaniu miejsca”). The works were inspired by mountainous landscape and based on observations. Not caring too much for realism, they are full of emotions and memories. In those graphics, my previous fascination with fabrics can be visible in the affection for expressive texture.
The works have been presented at numerous group exhibitions and at 6 individual exhibitions.
Artistic research project.
The project was carried out between 2003 and 2007:
“The Elements – Earth, Air, Fire and Water” (“Żywioły – Ziemia, Powietrze, Ogień, Woda”) is an artistic research project carried out in 2003-2007 by the Institute of Art of the Faculty of Art in Cieszyn, branch of the University of Silesia. The initiator, leader and soul of the project was professor Jagoda Adamus who wrote introductions to all the catalogues and gave several lectures on this topic. Jagoda is a wonderful painter and an incredibly efficient organiser. 29 artists participated in the project: painters, graphic artists, photographers, sculptors and performers from Poland, Slovakia and the Czech Republic associated with institutions of higher education in arts from Ostrava, Ružomberok, Kraków, Łódź, Katowice, Warsaw, Lublin and Cieszyn. The aim of the project was to confront artistic attitudes, exchange experience and try to demonstrate how contemporary artists feel about the topics that have fascinated people from the beginning of time. We executed the project through works dedicated to each of the elements and we organized exhibitions, private views, lectures, seminars and meetings. After analysing dozens of works created under the influence of the project, it must be said that although the approaches are very different, the subject is important and inspirational for people and for artists even today. And despite all our knowledge, this subject is still unexplored and mysterious. As a co-organiser of the project, I participated in exhibitions, presentations, discussions, meetings, press interviews and radio programs discussing the project. Within the framework of the project, I created a dozen or so graphics devoted to the subject of the elements, but the meetings with other artists were the most valuable for me.
The works created under this project were presented in private and open exhibitions.
Field of view / Pole widzenia Artistic research project.
The project was carried out between 2010 and 2016:
“Field of view – synergy of science and art” (“Pole widzenia – synergia nauki i sztuki”) is an artistic research project examining the changes that take place in the visual aspect of the public space. Leader and initiator of the project – Małgorzata Łuszczak. The project was carried out between 2010 and 2016 by 17 artists (illustrators, graphic artists, photographers, performers and audiovisual artists) associated with the Department of Interdisciplinary Artistic Creation of the Institute of Art in Cieszyn, University of Silesia in Katowice. The project included workshops and dozens of works of art were produced. This topic and those issues – the study of the field of art, the exploration of the environment, the search for relationships between science and art, the confrontation of social and cultural phenomena – were tackled before by many artists and scholars and are present in their works. The institutions which are engaged in this topic and which have held the exhibitions and workshops include: Ujazdowski Castle Centre for Contemporary Art in Warszaw, Centre of Contemporary Art in Toruń, The Ars Electronica Centre in Linz.
The publications of the works include: “Discipline – The Institute of Interdisciplinary Artistic Creation” (“Dyscyplina – Katedra Interdyscyplinarnej Kreacji Artystycznej”) in 2010, “Labyrinth” (“Labirynt”) in 2010, “Field of View – synergy of science and art” (“Pole widzenia - synergia nauki i sztuki”) in 2012, “Art Bridges” (“Mosty Sztuki”) in 2016.
The works created under this project were presented in private and open exhibitions.
Małgorzata Łuszczak’s drawings and graphics have been reproduced in 82 monographs and publications on modern art, from which more than a half were published abroad.
