'Homage to the Square II' at POSK

Exibition of paintings by Paweł Wąsowski




Saturday 6 - Friday 19 July 2019

POSK Gallery

238-246 King Street

London, W6 0RF




The square is a frequent compositional form in a variety of media. Its brilliance is most felt in the balance and symmetrical dissection of the field. Clearly, over time, a square has been used as a basic form in the art of many a genius, including Malevich, Mondrian and a number of others.


Key to the art of Paweł M. Wąsowski is the Bauhaus tradition in art and architecture, with its iconic language and simple divisions of form and field. In a sense, Wąsowski can be considered a 21st-century follower of geometric abstractionism. The artist admits to being a connoisseur and admirer of the Bauhaus school and its founding fathers, especially the expert hand of Joseph Albers and the colour theory of Johannes Itten. Both these masters have indirectly lent Wąsowski some of their unique vision and style. Among his op-art mentors, Wąsowski mentions Julian Stanczak, Richard Anuszkiewicz and Bridget Riley. 


As we take a general look at the artist’s body of work, we are faced with one inevitable conclusion: regular exposure to present-day art forms makes it somewhat difficult to develop a completely unique style, which would in no way or form repeat that of one’s predecessors, especially if this exposure is mindful and profound.


Wąsowski works in a purplish-pink colour scheme, creating dotted patterns that resemble depictions of ancient musical melodies or wavelengths. In this way, Wąsowski spins a tale about colour in which discrete, carefully placed geometrical points create fluid transitions in the overall composition. In the artist’s own words, he uses ‘only pure specks of colour’.


The purpose of art is to stream and to talk, to inspire reflection, both in the artist and in the viewer This fundamental truth appears in Wąsowski’s work as homage to the square and to colour.  But he goes further and deeper. By weaving colours within the square in an organic, contrasting and dynamic manner, he ends up creating specimens of op-art, conjuring up a fleeting impression of a spinning motion and instilling the square with the properties of a levitating mandala.

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