Description
The title of the series of paintings "Instruments" refers to the relationship between music and painting, which have their common origin in the physical medium of paint or a musical instrument. Through these media, we can unleash a creative impulse that opens the way to go beyond the rational and material space. For me, the visual-musical space is the main area where I look for inspiration and discover in it the elements that dominate my work, which identify the visual and spiritual way I experience the nature of the world.
The first outline of the latest series of paintings was initiated by a non-coincidental coincidence. Walking with my son on a Baltic beach, we noticed on the sand among stones and shells fossils of sea creatures, which, as it turned out later, came from the Paleozoic era.
I imagined then that we were just on a timeline connecting us to an era so distant, that it is hard to realize. I then felt how the awakened awareness of this situation prompted me to think multidimensionally. The material vehicle for my reflections became a sea shell, which has fascinated people and accompanied man in his life for thousands of years.
From musical instruments, jewelry, through its use as currency, ending with its symbolic significance in spiritual and religious aspects.
The symbolism of the shell, of course, has different meanings, but it always expresses a positive spiritual reality, which is particularly important to me, because the object, which is an important element in ancient cultures and is also a carrier of human beliefs and values attributed to it, helps me understand myself as part of history, inducing in me a state of reflection on the uniqueness of the moment I am currently in.
However, for me, the shell is above all a beautiful and fascinating creation of nature that combines diverse structures. On the one hand, we see a smooth and pristine interior, and on the other, a rough and stony shell. Opposites of this kind focus my attention, as the use of contrast is a dominant mode of expression in my painting work.
The motif of shells, therefore, obviously fits into the area of my formal interests and is for me an interesting subject for creative considerations on and off the canvas.
The limestone texture of the shell and the synthetic shiny shapes in the paintings only seem different on the surface, but they have many features in common. For me, it is the difference between the two juxtaposed objects that is the essential tool I use to build up its internal tension and dynamics in the painting. These opposites retain their legibility and self-evidence in my work, creating an incredible visual force that allows us to fix our attention on an essential element of the painting composition, and the resulting image defines a common space, merely suggesting to us the direction our imagination can take.
I hope that in the finished painting piece, both the shell, which is a symbol of the place where new life is created, as well as all the colors and shapes have a chance to exist in our visual and spiritual way of experiencing the world, opening wide areas of feelings and emotions.
The first outline of the latest series of paintings was initiated by a non-coincidental coincidence. Walking with my son on a Baltic beach, we noticed on the sand among stones and shells fossils of sea creatures, which, as it turned out later, came from the Paleozoic era.
I imagined then that we were just on a timeline connecting us to an era so distant, that it is hard to realize. I then felt how the awakened awareness of this situation prompted me to think multidimensionally. The material vehicle for my reflections became a sea shell, which has fascinated people and accompanied man in his life for thousands of years.
From musical instruments, jewelry, through its use as currency, ending with its symbolic significance in spiritual and religious aspects.
The symbolism of the shell, of course, has different meanings, but it always expresses a positive spiritual reality, which is particularly important to me, because the object, which is an important element in ancient cultures and is also a carrier of human beliefs and values attributed to it, helps me understand myself as part of history, inducing in me a state of reflection on the uniqueness of the moment I am currently in.
However, for me, the shell is above all a beautiful and fascinating creation of nature that combines diverse structures. On the one hand, we see a smooth and pristine interior, and on the other, a rough and stony shell. Opposites of this kind focus my attention, as the use of contrast is a dominant mode of expression in my painting work.
The motif of shells, therefore, obviously fits into the area of my formal interests and is for me an interesting subject for creative considerations on and off the canvas.
The limestone texture of the shell and the synthetic shiny shapes in the paintings only seem different on the surface, but they have many features in common. For me, it is the difference between the two juxtaposed objects that is the essential tool I use to build up its internal tension and dynamics in the painting. These opposites retain their legibility and self-evidence in my work, creating an incredible visual force that allows us to fix our attention on an essential element of the painting composition, and the resulting image defines a common space, merely suggesting to us the direction our imagination can take.
I hope that in the finished painting piece, both the shell, which is a symbol of the place where new life is created, as well as all the colors and shapes have a chance to exist in our visual and spiritual way of experiencing the world, opening wide areas of feelings and emotions.
Daniel Krysta
About the artist
Daniel Krysta (born 1976)
"My work flows without any sudden turns and breakalfa throughs. I do not distinguish series either. At the time paintings are presented on an exhibition, we can say they are a closed set but certainly not a series. It would be more appropriate to use the term: open sets, sets that complete each other and develop in a right time. It’s like the process of maturing. Each element of the set is more perfect, more precise, has a sort of „baggage” of experience. This is my work exactly. I strive for perfection. However, this path is long and curvy." - Daniel Kryta
