Kinga Czerska

Seattle, Washington, USA

The paintings work by combining their presence as objects with a sophisticated—almost optical—linear play. Rather than relying on traditional balance-this-with-that composition, the pieces function through rhythm and varying notions of contrast. They are densely layered and executed with both deft precision and, at times, a playful lightness. The lines swoop and flow in a manner, which seems to dance with the viewer’s expectations about the clarity of a straight line. The wooden panels that I use lift the painting’s surface from the wall to intensify the jump between image and object.

I believe that on every level we are surrounded by layers of patterns interlaced together to create a whole. The paintings are my place of contemplation and realization of this structured environment as I thin-slice the world around me. I devote my time to the study of different patterns and structures found in architecture, engineering, the animal kingdom, stars and galaxies, the human body and psyche. I am amazed at the intricacies of the natural and manmade environments and the phenomenal detail that allows for each piece to fit, creating a uniform whole. In my paintings I combine elements that are often rigid, but upon further study, the surface takes on a feeling of fluidity and stability.

The paintings are executed in a very precise manner so as not to detract from the structure and pattern. The palette scintillates energetically as the viewer is lost in the rhythm and energy of the piece. The work plays upon the viewer’s visual cortex as the shapes move in and out of focus and vibrate. The work is elegant, rhythmic and fluid, giving a sense of unity and everlasting formation.

I need to understand how it all fits, what holds it together and, most importantly, how one can affect all. I immerse myself in an unbelievable amount of patterns present in the environment around me. I recombine what I see and perceive onto panels that tell the underlying story of the place.

I see the world all around me as an intense amount of connections and information that my mind has to process, with never-ending amounts of nuances and details I miss. It is as an intensely structured surface which uses elemental, geometric forms to seek an order for the world around us and, at the same time, is graceful, precise, elegant and balanced. I feel that this work is deeply personal as it plays upon many senses, and it comes from the daily processing of everything that surrounds me. If you can imagine flattening everything in front of you into one plane and analyzing its contents you will be able to see what I see. As the world restructures by shifting and undulating, I try to capture the brief moment where it is stable just before another shift occurs. The work also is a recognition of the influence of the digital age on our perception of the world as we learn to look in terms of pixels, a scientific, microscopic look at the world.

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