Let’s see how issues are going. No theorizing or poeticizing. A industrial artwork gallery is handled like a store, or reasonably like an unique boutique. It isn’t a lot the objects which can be purchased as the worth contained in them. The worth of artwork is outlined and created in numerous methods. There are quick fads and tendencies. Within the lengthy length, canons are established. However in addition they change. The worth of artwork might be fluid. Like considering.
Some come to the gallery due to the necessity for an aesthetic, mental and emotional encounter with a murals. Some need to commune with it every day and make a purchase order. Nonetheless others, particularly right this moment, want someplace to place extra cash that loses worth. The latter normally then go to a boutique with a promoted model and purchase a fabric object, most frequently with a big picture content material within the picture, as “distinctive” and sturdy as attainable. It’s best if it was hand-made and signed with the identify of a well-known creator. Analysis was performed in public sale homes—work in crimson are the perfect sellers.
The worth of artwork is ephemeral mud, like psychological speculations and feelings. Paul’s work comprise various levels of them. Some are simply “violated”, “touched”. They could bear irreversible modifications regardless of the sturdiness of the supplies used. They’re created in lengthy sequence, constantly and methodically. The method of their formation requires using particular procedures. Discount, accumulation and probability are concerned. Some come up as a aspect impact of engaged on others. Within the newest sequence, new ones are created partially protecting the older ones, layer by layer. Others can’t be taken with you from the gallery.
As Adam Budak put it “Seemingly contradictory strategies of lowering/erasing on the one hand, and accumulating/amassing on the opposite steadiness the artist’s curiosity in extra and a void of the visible.”
at Piktogram, Warsaw
till February 11, 2023