Arek Marcinkowski

Fluctus 22

3 channel video Installation, 2017

Jean Etienne Liotard pointed out that "painting (...) with the help of overt fraud proves to be the pure truth itself." This is true for all of the visual arts, regardless of the medium with which they are associated. Their "fraud" are certainly not heavier sin than what most of us unwittingly commit  every day. The reality in fact appears to us through the senses. Most people recognize the reality mainly through the sense of sight , and this knowledge is illusory, because sensual means uncertain. Reality exists independently of the knowing subject on many levels and in many dimensions. Sensory cognition brings it to such dimensions that are available for cognizing subject, which falsifies it, and at the same time creates it. There is as much reality and its paitings, as many subjects, although reality itself is not necessarily pictorial.  . It appears to us in the shape   we are able to perceive it – subjectised , and we gladly take this subjective view for granted.. The truth about reality is not available to us. Sandro del Prut was aware that everything we perceive  can be seen in a different way, he even allowed the thought that "everything we  can see is just an illusion." The boundaries between what is real and what is illusory are blurred. Reality and illusion intermingle and complement each other.

When creating my graphic waves,  I  roam between the picture and the image; between what I perceived as the sea and what is the created image of it; between waves entangled in me and what is embedded in the medium. This is not, however, a journey from the truth to the falsehood, but in the worst case, from illusion to illusion. The image is perhaps more "honest” than  the  picture, as it reveals its creative  nature.

The essence,  but not the purpose of my graphic art is the pursuit and trial, and so the process that results in generated artifacts. My works are the result of constantly repeated trial  to visualize what is  invisible, and hence - the pursuit  to make present what is absent. The meaning appears in the process of creation , the meaning established by imposing chaos of sensory data of consistent deformation. The form to perceive the real object is secondary - impure. Important elements of my compositions are lines and geometric shapes: squares, triangles, circles ... that I add to  or dissected from the starting material. I do not take geometric figures symbolically and do not attribute them any hidden meanings. They belong to my perception of the world, which I share with the viewer of my work. They allow me, due to its sublime , ascetic nature , to organize the chaos within picture, curb the emotions and mantain  the position of the observer. My  aim  is to simplify the means  of expression. I choose cool and calm colors, and synthetic forms. I'm trying to eliminate everything what is additional - unnecessary, distracting from the essence of things.

Jean Etienne Liotard 指出 "在明顯詐欺的協助之下的繪畫被證明是純粹的真理本身"這針對視覺藝術的真相，無視以何種相關聯的媒材創作。它們的欺騙絕對不會比我們每日不知不覺犯下的還要罪重。實際上我們是夠過感官認知現實。多數人主要是透過視覺認知現實，然這認知是虛幻的，因為感官感知意味著不確定。現實獨立存在於知識主體的多層次和多方面上。感官認知使其具有可用於認知主體的這樣的維度，從而偽造它，同時創建它。

創作我的圖像律動時，我漫遊於圖片與圖像之間，在我所認為的海洋以及它所創造的形像是什麼之間，在纏繞著我的波浪以及嵌入的媒體之間。然而，這不單只是從真理到謬論的旅程，更壞的情況是從幻覺到幻象的旅程。或許當影像顯露它富創造性本性時會比圖像更為”誠實”。並非我平面圖像創作的藝術本質是追求和審判，也因此落入了導致產出人工物的過程。我的作品是不斷反複試驗的結果，將看不見的視覺化，甚者，追求呈現出是何者缺席的狀態。意義在創作過程中出現，通過強調一致變形的感官混亂數據而建立的意義。感知真實物體的形式是次要的且不純粹的，我作品中的重要元素是線條和幾何形狀：正方形、三角形、圓形...我是從材料的起始點去添加或解析。我不採用象徵性的幾何圖形，也不歸納它們隱藏的意義。這屬於我對世界的覺知，那個我與我作品觀察者共享的世界。咎因於崇高及美學本質，它們允許我以圖像組織這團混亂，抑制情感並保持觀察者的位置。我的目的是簡化表達手段，所以我選擇了冷靜沉著的色彩，並合成形式。我試圖消除額外的一切 - 本質以外不必要的且分散注意事物的一切。