Andrzej Jakub Olejniczak Index 2011/13 by Andrzej Jakub Olejniczak

Andrzej Jakub Olejniczak

Andrzej Jakub Olejniczak INDEX 2011 / 2013

Generative Vision Gallery | Envisioning Business, Inc. | New York 2016

Funding for this publication was provided by Envisioning Business, Inc.

Book design by Andrzej J. Olejniczak

Editors:

Barbara S. Olejniczak Steve Rothman

Translation: Klara Kopcińska

Published by Envisioning Business, New York ISBN 978-1-68419-224-3 First release: September 2016

Respect copyright, encourage creativity! For further information, please visit www.generativevision.com

All right reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any other information storage and retrieval system, or otherwise beyond that coping permitted by Section 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press without written permission from Envisioning Business, Inc.

Front cover image, detail of Camber framed by dozen circles 2010, see also page. 23.

Contents

iii

Looking for definition…

Spatiotemporal Structures by Janusz Zagrodzki

Open Structures

Photographs

Ambiguous Space / Objects of Illusion

Photograms

Spatial Miniatures

6X4X

107

GV_Clockwork

115

Plane Transformation

141

New Work in Progress | 2012

160

“33 variations” the Mirage series

174

Biography

174

Exhibitions

177

Afterwords

looking for definition…

Why do I think about generative vision? The idea of doing something again, repeating, reconfiguring the thoughts or recreating the process one more time – it feels so right. It is subconscious realization floating all-over my mind that makes me anxious to do things again and again, perhaps better or different. It is a part of concentration process when I think about past and future and keep working out how would I do this if I could have a chance to do it again. If I had spoken about something, could I say it again differently or better or if I repeat my thoughts one more time, do I repeat it exactly the same, unchanged? Or do I play with intonation or try to give emphasis to different aspects of the same issue? For example you organized books on the shelf and it’s done. Is this done the way you really wanted it? Let’s say you had two books only, that could be easy, you have only a few options, standing those on the left or on the

‹ iv

right, perhaps putting it down flat one on the top of the other or the other way around. But imagine that there was dozen books, two by the same author, each one slightly different size and different color spines plus they are all about different subject matter. One thing is just to put these away, the other is to put these away so that will make sense for you and perhaps it would make also sense for the others. I am constantly configuring algorithms in my mind to check the possibilities, somehow less mechanic and more sensible about direction in which the possible solution can be found. Generative process of one of the kind of processor – me. Obviously, I do make some errors from time to time, creating ‘rejects‘, but I am leaving only these results which

Self-portrait – variations 2012

I can understand. One could say that I like to be in charge. photograph

The result can be so much different, possibilities can multiply, each time the connection is made with the point were original idea started and it diverted in unexpected way, it seems almost like infinity of possibilities. Is there an end in this process: that is the question… my question. please visit —› generativevision.com

pigment print on archival paper 11” x 11”

Janusz Zagrodzki (b. 1941 in Warsaw) – art historian, critic, author exhibitions of contemporary art and critical texts, founder of Gallery Footprint in Łódź, a participant of the independent artistic movement and the last ‘open-air workshops’ in the Osieki, Poland.

Meeting with the work of Katarzyna Kobro and Władysław Strzemiński gave direction to its main interests in the field of contemporary art. During his studies in Toruń met Josef Robakowski, Antoni Mikolajczyk, Andrzej Różycki and that this knowledge influenced his interest in photography and film. Along with Różycki and Mikołajczyk belonged to the artistic Group Rhythm, which existed in parallel to the Zero-61. At the end of his studies he was artistic director of the student club from New Toruń. In 1966 he moved to Łódź, where he worked at the Museum of Art, curating exhibitions and permanent gallery.

His collaboration with the Workshop of Film Form contributed to films of Polish avant-garde art. The resulting films Tytus Czyżewski, Leonie Chwistek, Henryk Stażewski, Stanisław Ignacy Witkiewicz and spatial compositions by Katarzyna Kobro, Polish Constructivism (2 parts), Living Gallery.

In 1978, while working at the Museum of Art in Łódź founded the Authors Gallery ‘Trail’.

In 1974, on the ‘open-air workshops’ in the Osieki he delivered the first lecture in the series Notes on Contemporary Art, which dealt with the idea of art private ownership. The summary of this idea was the text of Art in Circulation Outside

the Museum presented at the session of the Association of Art Historians in 1984. In this text, he argued that previous attempts to interpret art sites have revaluation and therefore should look for answers in direct contact. Definitely a better place for art had become a private apartment, where one can be closer in contact with the context of the work of art.

Spatiotemporal Structures

Through millennia, the objects that humans produce have always existed

Janusz Zagrodzki

within the parameters of “time” and “space” – even before the much-abused word “art” was coined to describe them.

Ancient philosophers applied their interpretation of universal concepts to suggest that space exists and time flows. Space, they suggested, exists around everything, encompassing all forms present in nature as well as objects created by human beings, while time flows in a constant, steady pace, serving as a measure of existence.

The Paths of Art and Science Converge

Space and time are now dynamic quantities: when a body moves, or a force acts, it affects the curvature of space and time – and in turn the structure of space-time affects the way in which bodies move and forces act. Space and time not only affect but also are affected by everything that happens in the universe. 3

— Stephen W. Hawking1

These beliefs were not rigorously challenged until scientific breakthroughs in theoretical physics in the 20th century pointed to other realities. Nonetheless, many creators of “art” didn’t fully accept the idea that “absolute time” and “absolute space” no longer applied. Pythagoreans and many of their successors believed that being was manifested through motion. If so, then the visual representation of this motion was in fact a way to capture “becoming,” pointing to what was possible to portray. This led to a path of artistic endeavor that ran parallel to scientific discoveries.

Isaac Newton dealt with only one reference system extended to the whole of space. Georg Friedrich Bernhard Riemann defined the language of the geometry of curved space. But it was Hermann Minkowski who claimed that thinking about space and time as separate categories – shadows of each other – was doomed to disappear; only the unity they form together will define existence. Making use of Minkowski’s geometry, Albert Einstein proved that the characteristics of the spatiotemporal structure result from its warp, and that the assumed coordinates and their relation reveal the causation that is retained in every reference system.

‘Spacetime’ Gains Acceptance… in Physics and Art

The notion of “spacetime” as an infinite medium – reflecting the structure of Euclidean or Riemannian geometry – stopped being a scientific heresy. It was accepted as natural and became an important part of research conducted by scholars from wide-ranging areas – from mathematics to humanities. Philosophical theses specified its presence in the realm of arts. Spacetime – as 1

Stephen. W. Hawking, A Brief History of Time, Cambridge 1988; p.34

defined by general relativity, supported by research by Roger Penrose and

Stephen W. Hawking – is the basis for theoretical physics today. It has opened

— “a complete simultaneity of the phenomenon4.” The integration of

a new path for creativity in all fields of art, and objects immersed in it cause

forms within an artwork, of elementary particles into an organic unity, was

structural metamorphoses in their environments.

the main rule of Strzemiński’s theory of “Unism,” which he based on the following assumptions: “Every square inch of a painting is equally valuable

The transformation of forms occurring in spacetime may refer to

and equally important for the structure of the image5.” The peak of his artistic

manifestations from both the real and the imagined realms. Hence, if

achievements came in Łódź, where Strzemiński, as the leader of the “a.r.”

absolute time and absolute space no longer exist, artists are free to reject the

(real avant-garde, 1929) group, joined with other members to create the

limitations set by science and introduce their own models of the continuum.

“International Collection of Modern Art” in 1931. It was one of the first publicly

The one- or two-dimensional spaces so dominant in art – the surface of

accessible art collections in the world, including the works of outstanding

paper, canvas, or any other flat plane – are completely understandable to

avant-garde artists from Picasso to Mondrian and Arp. This collection was

the viewer. Trips into 3-dimensional space don’t require much imagination,

the foundation of today’s Museum of Art in Łódź.

nor do situations where movement introduces the fourth dimension. The way of describing the movement of objects on a plane can be illustrated

If one compares modern theoretical writing with the theses Strzemiński

through photography or film, to projecting a series of images onto a screen,

developed in the 1920s, particularly in “Theory of Seeing6” (his last writing,

giving the viewer a sensation of motion in time. The recording symbolically

published after his death), one can find many examples of his anticipation of

conveys new aspects of their position. Experiencing time and space within

what was to come. In Rudolf Arnheim’s work on art and visual perception7,

a plane may be transformed into a series of paintings, drawings, etchings or

where the author argues that “art is a way of reasoning” and “seeing is a way

even 3-dimensional objects.

of thinking,” Strzeminski’s definition of the creative process could well have been quoted: “To build a work of art means to tie together the number and

Władysław Strzemiński: A Pioneering Thinker in Spatiotemporal Art

quality of visual elements into a system which makes them codependent. According to that system we set our attitude towards each of the separate

Among avant-garde artists of the interwar period, Władysław Strzemiński

visual elements; we choose out of them those that fit the system; we put

(1893-1952), a Pole, played a unique role in the introduction of the

them together using the system, according to which we build the work of art.

spatiotemporal into artistic expressions. Together with his wife, sculptor

Thus the unity of the work of art can be perceived as the unity of thought8.”

Katarzyna Kobro (1989-1951), he presented a theoretical foundation for “space-time phenomena” and introduced rules to guide their composition in works of art that “tie space and time into an inseparable unity2.” Strzemiński published his assumptions for structural art as early as 1924: “A work of art has no meaning. A work of art is no sign of anything. It exists per se3.” He stressed the necessity of the interdependence of all areas of art, of binding them into one “plastic organism.” He called for a “unity of the work of art” 4

W. Strzemiński, B = 2. Powinno być: Sztuka = maximum twórczości [B = 2. Should read: Art = maximum creativity], „Blok. Kurjer Bloku. Revue International” 1924, nr 8/9, p. nlb.16-18.

K. Kobro, W. Strzemiński, Kompozycja przestrzeni. Obliczenia rytmu czasoprzestrzennego

W. Strzemiński, Unizm w malarstwie [Unism in painting], Warsaw 1928, p. 11-12.

W. Strzemiński, Teoria widzenia [Theory of seeing], Kraków 1958.

R. Arnheim, Sztuka i percepcja wzrokowa [Art and visual perception], Gdańsk 2004;

[Space composition. Calculating spatiotemporal rhythm] , Łódź 1931, p. 17. The theoretical part was published in 1929. 3

R.Arnheim, Myślenie wzrokowe [Visual thinking], Gdańsk 2011. 8

W. Strzemiński, Nasza wystawa… [Our exhibition], in: Almanach Katalog Salon Modernistów.

W. Strzemiński, To co się prawnie nazywa NOWĄ SZTUKĄ…[What is rightfully called the NEW

Malarstwo. Rzeźba. Architektura. Meble. Wnętrza. Grafika [Almanach Catalogue of the Modern-

ART…], „Blok. Czasopismo awangardy artystycznej” 1924, nr 2, p. nlb. 2.

ist Salon. Painting. Sculpture. Architecture. Furniture Interiors. Graphics], Warsaw 1928, p. 2.

Though Arnheim had never heard of Strzemiński’s ideas, his research proved

Because of his negative experiences as a young man in Russia, Strzemiński

some of them true, for example: “Visual perception doesn’t mean passive

was very sensitive to even the faintest echoes of similar tendencies to coopt

recording of the material transmitted by stimuli, but is an active function

art for other purposes. Immediately after the German army left Łódź during

of the mind. Visual perception is selective. To perceive a shape one needs

WW II, he began preparation to establish a model school that would combine

to use the categories of shape, which due to their simplicity and general

fine art with practical design, but eliminate what he viewed as the mistakes

character can be referred to as visual concepts. As far as works of art are

in the Bauhaus’ program. The Higher School of Fine Arts in Łódź, founded in

concerned, e.g. in paintings, one can observe how visual perception makes

1945, was based on the Strzemiński’s “program of learning composition and

the most of its abilities to organize.”

the rules of form.”

Strzemiński Rethinks the Approach to Art Education

Andrzej Jakub Olejniczak:

An Artist Emerges Under the Influence of Strzemiński Strzemiński was also the creator of art education in Łódź, beginning with

the School of Modern Functional Printing (1931), then the Higher School of

Andrzej Jakub Olejniczak graduated from the Academy of Fine Arts in Łódź in

Fine Arts (1945), which has grown to become the Strzemiński Academy of

1974. He studied painting and composition under the guidance of Stanisław

Fine Arts, a public university renamed in its founder’s honor in 1988. As early

Fijałkowski – a disciple of Strzemiński – and later under Tomasz Jaśkiewicz.

as 1931, he formed his perspective on what “Modern Art and Art Schools”

He received his diploma from the “department of graphic design” directed

should and should not aspire to. His main thesis was: “art schools [should] not

by Bogusław Balicki. Within that department was a studio run by Stanisław

keep pace with the increasing achievements of art, and [thereby] become

Łabęcki exploring the “graphic development of space,” as well as a studio led

a battlefield against art.” His unique thinking challenged the approach not

by Krzysztof Lenk focused on the printing arts (later to become the studio of

only of classical fine art academies, but also of what was considered the

typography). From the beginning, Lenk characterized Olejniczak as an artist-

ideal modern art school by the avant-garde – the Bauhaus (Das Bauhaus in

designer always interested in what could result from “the warps of geometric

Dessau, 1925).

space.” Considering Olejniczak’s work, Lenk suggested that he had the ability to imagine “objects which look as if they were emerging from infinity, in

Strzemiński saw the dangers of an educational program focused strictly

which they existed before [his] vision projected them to life10.”

on production, linking such an approach to the events in Russia after 1922, which resulted in the complete subordination of art to the totalitarian

Soon after arriving in New York City in 1982, Olejniczak established O&J

strategy. Forcing the artist to be productive was, in his opinion, the result of

Design, Inc., a graphic design and visual communication studio. In 2009, the

neglecting the most important trait of the creative act and the artwork, “the

studio became known as Envisioning Business, Inc. In addition to providing

process of becoming, of growing.” Strzemiński was, perhaps, too harsh in his

graphic design services for corporate clients, the studio also began to create

opinions about the Bauhaus, seeing it primarily as the confinement of art to

a series of material objects – artistic, ornamental and functional – all of

the design and mass production of useful objects. But by pointing out what

which combined in their construction intellectual and aesthetic values that

he viewed as the danger of this focus on production, he could help to avoid

extended beyond typical industrial design.

this limitation in the way other art schools were organized.

10 9

R. Arnheim, Myślenie wzrokowe [Visual Thinking], op. cit. p. 47, 49.

K. Lenk, Krótkie teksty o sztuce projektowania. O. – w poszukiwaniu porządku [Short texts on design. O. – in search of order], Warsaw 2011, p. 61.

Early Explorations in 3-D Forms

He likened his process to the concepts and methods applied in science: “The principles of geometry dominate in my search and are also the starting

In the 1980’s, 3-dimensional forms began to emerge, leading to a series

points for my works. Mainly in the process of designing where subordination

of spatial objects, including “Perspectivo 1 & 2”, “Adorno (nine ornamental

and size of the elements and graphic forms has a major influence on their

objects),” and “Razoroid” (a functional object for holding an Exacto blade).

correlation and functionality. Space, light, time and motion are my tools.

Olejniczak developed his compositional guidelines in “Steel Cristall” (1990),

The division, layout and collision of planes lead me to solutions – both

resulting in “Thinking About Crystal Structure” (2011). “AXIS” (1995) was the

expected and unexpected. I persistently go back to objects and geometric

next important project, featuring an Archimedean spiral expanding both

forms inspiring new possibilities with no limits, which result from differences

ways. This was the source for the installation “Thinking About Archimedes”

in color, size and dynamics, as well as the changing perspective. Giving

(2011), as well as the inspiration for a sculptural form for the public space

the compositions new activities and creating surprising and unexpected

created a year later. Reflecting the origin of those projects, the artist

effects12.”

collectively referred to them as “Ambiguous Space – Objects of Illusion.” Next came his construction of the interactive sculpture “Intimate Sphere” (2011),

A ‘Generative Perception of the World’

which captured the rhythm of contrasting wide lines made of precisely built geometric forms: a cube divided into two halves, with a sphere hidden in

Olejniczak calls his exploration a “generative perception of the world13,” and

its hollow interior. All of the parts are made of alternating parallel stripes of

he develops it in various media. He determines basic material units from

wood – six of dark mahogany and six of light maple. Olejniczak assumed

within a collection of points, lines, planes, and geometric forms. He creates

that various degrees of the cube’s opening would determine the space of

a program for subsequent operations, a sequence of actions. He determines

the Intimate Sphere, from a barely-ajar slit to the fully revealing opening.

the space for visual action, usually limited to nine (3 x 3) or twenty-four

The changes in the free arrangement of the sphere – which result in optical

(6 x 4) space units (squares), chosen from a process of endless transformations.

distortion of the dominant rhythms of the lines – stress the interactivity of

Introducing mathematical parameters, he doesn’t limit the range of the

the work.

evoked phenomenon, he establishes the general direction of action and presents it visually, puts in cycles of strongly connected forms moving in

Applying ‘Unism’ to Painting

time and space. In the Latin word “genero,” the range of provoked events isn’t confined to creating solely visible, more or less abstract shapes. The

Along with his spatial searches and graphic design, Olejniczak also created

picturing of forms of energy and of its transfer constitutes a major part of the

paintings. He published „i_paint ,” in which he included selected works

content. Olejniczak uses computer tools, creating (according to their level of

from the years 1999-2003. The paintings – modest in their use of color,

development) “a system of endless possibilities of presenting visual issues.”

moving usually from white to shades of blue – reflected Strzemiński’s theory of “Unism.” Intuitive shaping of the plane is combined with formal experiments, continuously expanding the artist’s palette. The reflections over the construction and the role of texture became an important part of the creative process, their common feature being the ability to evoke visual phenomena in a completely new reality. The artist transformed the perception of reality into an epistemological category. He defined his artistic program as an introduction to future activities, where the produced records of his activity evolved into a series of images, spatial objects or installations.

A. J. Olejniczak, ’i_paint’, New York 2003.

A. J. Olejniczak, Vision, Art and Design Gallery, New York 2009.

A. J. Olejniczak, Sztuka i projektowanie [Art and design]. Selection of works – portfolio 2011-14, New York 2014.

‘Open Structures’: Investigations into Visual Perception

Explorations in ‘Plane Transformation’

The exhibition of Olejniczak’s works titled “Struktury Otwarte” [Open

The subject of “light, motion, time and space” was complemented by

Structures] was held in November 2011 at the Kobro Gallery at the Academy

a simultaneous exhibition titled “Transformacja płaszczyzny [Plane

of Fine Arts in Łódź. It was a summary of his analytical research into the

Transformation]16” at the Nowa Przestrzeń Gallery of the Academy of

phenomena of electromagnetic radiation influencing visual perception – light

Humanities and Economics in Łódź. The artist presented the “Vanishing Space

and the repositioning of certain elements in relation to others, motion in

Compositions – Plane Transformation” (2011) series there, explaining the rules

time and space. The artist presented graphics from the “Nine Squares” series

of its construction as follows: “The series ‘Plane Transformation’ is an attempt

(2010), “Spatial Miniatures” (2010), and “Transformations 6 x 4 x

” (2011). He

to discover a double dependency. The element of the monochromatic base

transformed and developed several series of paintings with similar properties.

is one of them. The background has a hidden dynamism of hardly discernible

This catalogue note accompanied the works: “Looking for relations resulting

intensities, disturbed by warps and cuts of the surface. The other aspect has

from the division of planes brings specific solutions. Recurring themes,

a deeper effect because, through the relation of light and shadow, it gains

variations, adaptations, alternatives, changes of color value, size of elements

a feature of volatility and penetration through the layer of the background,

and their function, angular displacements and transpositions are the basis of

creating new dynamic tensions. It causes variations in the perception of the

my unlimited experiments .”

relief and becomes a mechanism transforming these compositions. As an

end result, the viewer becomes the decisive choreographer of these events, Another set of works was the “GV_Clockwork” presentation (2011) and a

and my role is only to create structures which invite interaction and new

video animation based on it titled “Oh dear! Oh dear! I shall be too late!”

ways of perceiving17.”

Three colorful circles, representing the hour, minute, and second hands 7

of the clock, were moving on the symbolic face of the clock, inscribed in

Art as ‘Harmonic Variations’ on a Theme

a square, measuring the passage of time in a normal or accelerated pace. The following statement accompanied it: “We all receive the same 24 hours

Olejniczak’s works can be compared to harmonic variations on certain

every day. Their quality and joy influence our lives and are closely related to

themes, where the artist creates a melodic and rhythmical structure. Visual

how wisely we use our time.” The dominant work of the exhibition was the

sequences floating in space refer to creation of sounds, to transferring

installation titled “Black and White Reason for the Reaction – Thinking about

the music of the images at a certain interval up or down. The moment

Archimedes” (2011). The object hanging freely in space created a play of

of transformation in the process of rising or fading is stressed by the

shadows in motion, reacting to the slightest disruption in its surroundings.

introduction of unexpected sequences of color with explicit time gaps and

Depending on the angle of light and the observer’s position, it changed its

slight alterations of the rhythm. The harmony of colorful shapes transforms

color, taking all the values from white to black.

into improvised melodic motives. The artist states: “These are attempts to establish fundamental rules of harmonization of those minimalist actions, which by contrast of their size and dynamics, define the internal relationships within the plane. Often when speaking of my works I use terms derived from music. As in music, my works play, influencing imagination through rhythmical repetition and tonal interpretation. They harmonize or create dissonance,

This was a combined presentation of two artists: Meta Geometria [Meta-geometry] Jan

Kubasiewicz. Struktury Otwarte [Open Structures] Andrzej Jakub Olejniczak, Kobro Gallery,

Transformation Andrzej Jakub Olejniczak. Panorama Jan Kubasiewicz], “Nowa Przestrzeń”

Academy of Fine Arts, Łódź, November 4-18, 2011. 15

A. J. Olejniczak, Świat geometrii [The World of Geometry], ibidem

Transformacja płaszczyzny Andrzej Jakub Olejniczak. Panorama Jan Kubasiewicz [Plane

Gallery, Academy of Humanities and Economics, Łódź, November 4-18 2011. 17

A. J. Olejniczak, Cykl prac… [Series of works], ibidem.

all the time deconstructing; they transform and appear in a mirrored

Olejniczak states: “It represents an order, in which the slow transformation of

reflection with an altered angle or deformation. The deconstructions that

value or character gives all the elements dynamics and creates a sensation

come into being result from a different point of view. They cause a change of

of motion. This sensation of motion, of constant change, creates the

the relationship towards the plane and create new visual dynamics .”

sensation of time flow. The time flow is inscribed into the rhythm imposed

by the composition of elements. At times it slows down, and then it speeds Applying Intuition and Imagination Within a Logical System

up, creating a hypnotic trance20.” Olejniczak introduces various methods of deconstruction and construction. Another way of creating visual

By testing the rules of the modern media language, its contexts and

interventions on a plane is the deconstruction of the photographs in ”Glass

communication entanglements, as well as sets of signs still in the middle

of Water” (2015)21, a model to follow, as the artist suggests. A series of 16

of the creation process, Olejniczak always stresses the relationship between

works is derived from one repeatedly reflected representation. The full image

intuition and imagination. He respects the logical way of putting elements in

of the glass can be approached through analysis of a logical series of mirror

order, which, in his opinion, is a necessary aspect revealing new possibilities

reflections and subsequent transformations or deconstructions or, quite

of the creative process and giving it a different interpretation. He doesn’t

the opposite: by beginning from the realistic image one can subsequently

ignore the imposing decorativeness but avoids manipulative interventions

construct a structure deprived of objectivity, which can be further simplified

of superficial aestheticization. He moves freely within quantum mechanics

or enriched. [see pages 160 / 171]

and higher mathematics, transforming information according to specific programs. The final form, the way of putting together precisely chosen

Extending ‘Spacetime’ Possibilities into Recorded Media

images illustrating the course of visual events, results from a deductive method. His series of works on paper, his objects and installations, all describe

An electronic recording of events may be subject to various transformations.

the model idealized spatial phenomena, interpret the concepts, and analyze

On the visual level, it is indiscernible whether time passes forward or

the dependencies and structural links between the generated images.

backward. Its essence is untouched. Control over thus-understood visual spacetime characterizes many modern works of art. Accordingly, disruptions

New Works, Enduring Pursuits

in the flow of dimensions, so important for science, have no importance in the realm of art. The degree of order depends on the artist’s initiative,

“New Work in Progress” (2012) marks the beginning of the most recent

his imagination and intuition. But similar conditions resulting form the

period of Olejniczak’s work. The exhibition at the Olimpus Gallery in Łódź

predisposition of the viewer-receiver cannot be ignored. The entropy of time

points at the prevailing issues it raises. The main element of the exhibition

is a subject of research, and the space curve as presented by the theory of

was the “Miraż” [Mirage] series (2012), composed of 33 square “blurry

relativity leads to another question: about the specifics of time curve.

vibrating images,” fragments of spirals scattered freely in space, which theoretically could be presented in a single set of 36 squares (6 x 6, three

The transformation of film or electronic recordings opens huge possibilities

squares without the fragments of the spiral). The deconstruction of the open

to artists. Almost every shot can be stopped at any time as a single frame.

composition resulted from the transformation of the arrangement of its parts.

It can be transformed into a classical image and placed in an art gallery

A sequence of works grouped in sets from two to four filled the gallery space,

or in a prominent place in your living room. A question arises about the

subordinating its architecture. In a commentary on his work in “Mirage,”

limits of the conditioning of human perception. Why did the plane become

A. J. Olejniczak, Struktury otwarte>Transformacja płaszczyzny [Open Structures.Plane Transformation], http://envisioningbusiness.com.pdf

Miraż. Andrzej Jakub Olejniczak 33 wariacje z cyklu Miraż oraz inne prace [Mirage. Andrzej

Jakub Olejniczak 33 variation from the Mirage series and other works], Olimpus Gallery, Łódź, September-October 2013.

A. J. Olejniczak, 33 wariacje [33 variations], exhibition catalogue: Andrzej Jakub Olejniczak, Olimpus Gallery, Łódź 2013, p. 14.

A. J. Olejniczak, De > Constructing a pattern /Glass of Water, New York 2015.

the actual medium for events occurring in space and time? Can two-

Penetrating the Unknown: The Exploration Continues

dimensional images that we grew used to convey their features? An answer comes to mind that the spatiotemporal existence of a work of art does not

The issue of space and time in art encompasses not only aspects of scientific

only result from the high level of possible transformations, but equally from

theory, but also, in major part, what we yet do not understand or cannot

the imagination of the artist and of the observer of his activity. In this sense

even name. What can be described through theses and equations escapes

the determinant of the new dimension should be the emission of energy

rational codification in the realm of art: it still results from the individual

producing stimuli that affect the senses, a wave of emotion connected to

predisposition of artists and from visual discoveries they make. We notice

the cognitive process, the contemplation of the image. One can examine

mutual dependencies; we understand that depicting the positions of

such energies in the categories of time and space as conjugated quantities,

forms in spacetime is inseparably linked to the scientific definition of their

connected by physical properties such as a flash of light and following visual

qualities. But the cognitive process is still intangible. The space of events

effects. We could then research the viewer’s reaction, analyze its intensity, and

fitting into spacetime frames set by scientists disclose issues, the existence

determine the visual space defined through the time of the energy influence.

of which we merely begin to be aware of. We’re not able to answer the

Such an approach to the notion of spacetime differs from experiments that

question about why we limit our reflections to basic dimensions, when, for

originate from a knowledge of art, mathematics, physics or biology.

example, the essence of time is multidimensional. Penetrating unknown areas may open new possibilities of shaping such forms, which Aristotle

Making Contact with Art… and the Energy It Contains

identified as “transforming energies,” whereas what is tangible, accountable, potential, was referred to by him as “matter.” The multitude of mutual bonds

The ability to create a strong impact can be also perceived as an effect

enriches the structural properties of the obtained representations, especially

of gravity, of approximation. The phenomenon of physical, magnetic

when the experiments made by artists sum up abstracts of various origin.

attraction both on Earth and in space, is fully causative and doesn’t require

A new aspect of imaging emerges from the ties between virtual reality

more comment. But the ability to provoke feedback and reaction also

and existing forms in real, organic, or nonorganic matter. Andrzej Jakub

characterizes the strength of thought, of intellectual activity. In art it takes the

Olejniczak, by intuitively creating multidimensional objects – dynamic,

form of the need for contact with a particular work, which is also proof of its

energetic, transforming in time and space, without complete subordination

existence in spacetime. One can attempt to define the power that makes the

to mathematical devices – anticipates the future discoveries of science. He

potential viewer react to the material object of art, which gains his interest

creates visual events, not yet seized by any classification system, and he acts

in its individual features by the indicators of the energy it contains. One of

beyond the codes of known languages, hoping that the understanding will

the hypothetical measures of art could be the need to visit the gallery or

come one day.

museum several times to see the work, which due to innate features of the brain was recorded in our memory. Another is the attempt to receive a motile image that coexists within one space, to be under constant influence of the magnetic sphere it creates. A similar phenomenon occurs in literature where there is a need to go back to previously read books, to get emotionally involved with them again, to recognize the details of their construction and message. The whole of mental dispositions – cognitive functions of the brain together with works of art – create spatiotemporal mental structures.

Translation from Polish by Klara Kopcińska

Exhibition Poster 2011 design: Andrzej Jakub Olejniczak

limited edition digital pigment print 27.5â&#x20AC;? x 39.3â&#x20AC;?

Andrzej Jakub Olejniczak

‹ 10

The world of geometry, where space, light, time and

Open Structures

movement allow Olejniczak to create new structures and are always in the center of his work. “Exploration of relations resulting from the division of plane lead to specific solutions in my work. Recurring themes and variations, adaptations, alternatives, changes of color, size, components and their functions, angular displacement and transpositions are the basis of my unlimited searches”.

Body of work from the art exhibition at Academy of Fine Arts Łódź, Poland November 2011

Meditation on “The Intimate Sphere” 2011

photograph digital print on substrate Dibond® 36” x 36”

The following photograph represents the sculpture created in 2011. (See page 149) The sculpture became an inspiration for series of photographic studies.

12 13 ›

Meditation on the crystal structure 2011

photograph digital print on substrate Dibond® 36” x 36”

The following photograph represents 3D puzzle composition developed in the late 1990. Number of different fabrication methods was explored to create this objet d’art. Originally, two different size metal versions were created. Then in 2011 the large scale wooden version was made for the gallery show.(See page 156-159) The composition became an inspiration for series of photographic studies.

14 15 ›

The equation with two unknowns 2011

composition digital print aluminium installed substrate Dibond® 24” x 24” x 3.75”

16 17 ›

ADORNO 2011 (reproduction of nine objects)

photograph digital print on substrate Dibond® 36” x 36”

In 1991 the series of nine limited edition metal sculptures has been created with a high-precision, fabrication technique. They were named ADORNO. Under natural or incandescent light, sculptures provide a pleasing play of light and illusion. They have been designed as mobiles. Each sculpture requires a simple two-part assembly. ADORNO was sold exclusively by Rizzoli. Twenty years later these objects became an inspiration for series of photographic studies and graphic compositions.

18 19 ›

Four relationships between thin and thick circle 2011

composition digital print aluminium installed on substrate Dibond® 24” x 24” X 2.75”

20 21 ›

Camber framed by dozen circles 2010

composition digital print aluminium installed on substrate Dibond® 24” x 24” x 2.75”

22 23 ›

Camber struck through by dashed lines 2010

composition digital print aluminium installed on substrate Dibond® 24” x 24” x 2.25”

24 25 ›

Wrinkling in the an indecisive triangle — 2011

composition 24” x 24” x 2.25” digital print aluminium installed substrate Dibond®

26 27 ›

Bending the lines 2011

composition digital print aluminium installed on substrate Dibond® 24” x 24” x 2.25”

28 29 ›

Creases of diagonal line 2011

composition digital print aluminium installed on substrate Dibond® 24” x 24” x 2.75”

30 31 ›

The illusion while watching incomplete pyramids 2011

composition digital print aluminium installed on substrate Dibond® 24” x 24” x 3.25”

32 33 ›

â&#x20AC;¹ 34

Photographs

Playing with a ball observed by distorting lens # 02 2011

photograph digital UV ink print on substrate Dibond® 36” x 36”

36 37 ›

Playing with a ball observed by distorting lens # 06 2011

photograph digital UV ink print on substrate Dibond® 36” x 36”

38 39 ›

Playing with a ball observed by distorting lens # 07 2011

photograph digital UV ink print on substrate Dibond® 36” x 36”

40 41 ›

Playing with a ball observed by distorting lens # 09 2011

photograph digital UV ink print on substrate Dibond® 36” x 36”

42 43 ›

Ambiguous figures pose a problem for representationalists, particularly for representationalists who believe that the content of perceptual experience is non-conceptual (MacPherson in Nous 40(1):82â&#x20AC;&#x201C;117, 2006). This is because, in viewing ambiguous figures, subjects have perceptual experiences that differ in phenomenal properties without differing in non-conceptual content. â&#x20AC;Ś I argue that ambiguous figures pose no problem for non-conceptual representationalists. I argue that aspect shifts do not presuppose or require the possession of sophisticated conceptual resources and that, although viewing ambiguous figures often causes a change in phenomenal properties, this change is accompanied by a change in non-conceptual content.

Nicoletta Orlandi

Professor in Philosophy

44 45 â&#x20AC;ş

Ambiguous Space | Objects of Illusion Illusions are my definite weaknesses.

In my work it is always place for ambiguous representation of objects and where a defined character will only belong to the beholder. These are not meant to trick an eye but to encourage to uncover the possibilities and be entertained at the same time.

What interests me the most it is something that represents certain qualities and not things that my mind associates with ugliness. Or offensive visualization inspired by cruelty and lack of compassion for humanity. I would like to eliminate these kind of feelings from things called art. It may sound too profound but letting the cruelty to venue human artistic inspirations is not necessarily art. I definitely prefer to practice all aspects of visual grammar, as base for an artistic expression.

46 47 ›

Black and white reason for the reaction – thinking about Archimedes 2011

installation - approximate overall dimensions 3D objects , painted aluminum, illumination 197” x 40” x 80”

Black and white reason for the reaction - thinking about Archimedes — 2011

installation - approximate overall dimensions 197” x 40” x 80” 3D objects , painted aluminum, illumination

48 49 ›

Czarno biały powód do reakcji – myśląc o Archimedesie — 2011

instalacja – wymiary w przybliżeniu 500 cm x 100 cm x 200 cm 3– wymiarowe obiekty z pomalownego aluminium, iluminacja

Thinking About Archimedes 2012

public space installation – sculpture proposal high polished stainless steel or aluminum illumination during the night approximate overall dimensions W 36’ x D 33’ x H 38’, including the base

50 51 ›

front view

top view

side view

Photograph of “perspectiovo No. 1” — 2011

photograph 36” x 36” digital UV ink print on substrate Dibond®

3-dimensional geometric object in the Perspectívo series has been designed to work in relation to the mirror on which it is mounted. In each execution, the object and reflection work together to create an unusual image configuration. These configurations shift and bend constantly with the viewer’s perspective. The reflecting objects are made variously of stainless steel, brass and wood. The composition became an inspiration for series of graphic and photographic studies.

Original miniature sculpture by artist 1984/1985 cased in frame, polished brass

52 53 ›

Photograph of “perspectiovo No. 2 2011

photograph digital UV ink print on substrate Dibond® 36” x 36”

Original miniature sculpture by artist, 1985

cased in frame, chrome polished plate and painted wood 10” x 10” x 2.25”,

54 55 ›

“Photography can be described as a process to capture and display an image. In the past this was done with a lens, a shutter and film. The latent image was developed and became visible as negative on film. Next step in that process was to put the film an enlarger and a second lens was used to project the image on paper with a light sensitive coating. Step by step parts of the original process have been replaced by other technologies. In the case of using a scanner to take photographs the camera has been replaced by the flatbed scanner. Another example is the inkjet printer which has replaced the enlarger, this allows new possibilities and new limitations but it does not harm the process description of photography.”

Vincent de Groot—

Flatbed scanners normally are used to scan documents, photos or film. The inventor of the CCD flatbed scanner Ray Kurzweil had in mind to develop a machine to scan paper and recognize the text written on it.

‹ 56

Photograms*

57 History Some of the first photographic images made were

photograms. William Henry Fox Talbot called these photogenic drawings, which he made by placing leaves and pieces of material onto sensitized paper, then left them outdoors on a sunny day to expose. This produced a dark background with a white silhouette of the object used.

“My desire to create photograms was inspired by long time admiration of Bruno Munari’s work. He was one of the most innovative “renaissance artists” and designers of last century. In mid sixties he dedicated his passion to experimental work which he called “original xerographies”. He discovered that in certain conditions, copying original work, the quality of reproduction created another unique original.

From 1843, Anna Atkins produced a book titled British

Algae: Cyanotype Impressions in installments; it was the first book to be illustrated with photographs. The images were all photograms of botanical specimens, which she

This play with use of Xerox copy-machine became his passion and obsession. His systematic and elaborate studies resulted in numerous graphic compositions of remarkable artistic qualities.

made using Sir John Herschel’s cyanotype process, which yields blue images. [This unique book can be seen in the

National Media Museum in Bradford, England.]

In my process I choose to use the flatbed scanner. I am challenged to discover what can not be envision. This is art created by preconceived actions and contingency results”.

* A photogram is a photographic image made without a camera by placing objects directly onto the surface of a light-sensitive material such as photographic paper and then exposing it to light. The usual result is a negative shadow image that shows variations in tone that depends upon the transparency of the objects used. Areas of the paper that have received no light appear white; those exposed through transparent or semi-transparent objects appear grey. The technique is sometimes called cameraless photography. It was used by Man Ray in his exploration of rayographs. Other artists who have experimented with the technique include László Moholy-Nagy, Christian Schad (who called them “Schadographs”), Imogen Cunningham and Pablo Picasso. Variations of the technique have also been used for scientific purposes.

‘Bull’s-eye‘ scanner registration 2010

composition, photogram/scan digital print on substrate Dibond® 36” x 36”

58 59 ›

‘Irregular thick lines’ scanner registration 2010

composition, photogram/scan digital print on substrate Dibond® 36” x 36”

60 61 ›

Irregular lines No. 2’ scanner registration 2010

composition, photogram/scan digital print on substrate Dibond® 36” x 36”

62 63 ›

Adaptation of color in cylindrical space 2010

composition, photograph digital print on substrate Dibond® 36” x 36”

Private collection, Poland

64 65 ›

Independence of nine squares 2010

composition digital print on substrate Dibond® 24” x 24”

Private collection, Poland

66 67 ›

Relationships in the area of nine square 2010

composition digital print on substrate Dibond® 24” x 24”

68 69 ›

‹ 70

“The concept of three dimensional miniature works derived from my natural creative process. Making scaleddown models and drawing many composition sketches allows me to arrive at new discoveries. It is an intimate process and a very personal experience of discovering unique relations between forms, colors and spaces. I see the similarity to the dynamics of creating miniature portraits by old masters. Initial intimacy between the model and the artist and then between the portrait and the person for which was intended.

Although my works are abstract they generate a desire to return and look at them again and again. In this process, one will discover more and finds, new meanings, new

emotions and finally the impression that work is alive and constantly expending inside it’s small frame.”

Spatial Miniatures The Series

Spatial Miniature # 03 2010

mixed media, digital print on paper composition: 4.74” x 4.75” framed: 10” x 10” x 2”

Private collection, Poland

72 73 ›

Spatial Miniature # 07 2010

mixed media, digital print on paper composition: 4.74” x 4.75” framed: 10” x 10” x 2”

74 75 ›

Spatial Miniature # 09 2010

mixed media, digital print on paper composition: 4.75” x 4.75” framed: 10” x 10” x 2”

76 77 ›

Spatial Miniature # 12 2010

mixed media, digital print on paper composition: 4.74” x 4.75” framed: 10” x 10” x 2”

78 79 ›

Spatial Miniature # 16 2010

mixed media, digital print on paper composition: 4.74” x 4.75” framed: 10” x 10” x 2”

80 81 ›

‹ 82

“In the visual world, the relationship between four equally

6X4X

distant points can be as simple as four straight lines of a perfect square. I imagine this relationship having a sense 6 X 4 X

project was developed as a interactive art game

of movement and transformation that is not limited to

where objects are never static but animated, constantly

straight lines or their static nature. Let’s imagine that they

transforming and morphing. Depending on selection, the

can come to life and create a magical presence with

movement and transitions create graphic patterns with

endless creative possibilities.”

practically endless possibilities. Some of the results became as a series of unique prints and are shown in this section.

In a final outcome of programing the interactive multimedia CD-ROM was produced. It was included inside the book/ album illustrated with the collection of artworks created using of 6 X 4 X

program.

Access to interactive version of program is available at: www.generativevision.com/6x4xinf/ www.envisioningbusiness.com/6x4xif/

Opposite page selected arrangements prints from infinity series 6 X 4 X

6X4X

#002 2011

digital pigment print on handmade paper by Tibetan monks 13” x 9.85”

Private Collection, Poland

84 85 ›

On this page is selection of illustrations from the 6 X 4 X

Book.

(see other pages in this section about 6 X 4 X

project)

Opposite page selected arrangements prints from infinity series

6X4X

#a12 2011

digital pigment print on handmade paper by Tibetan monks 13” x 9.85”

Private Collection, Poland

86 87 ›

On this page is selection of illustrations from the 6 X 4 X

Book.

(see other pages in this section about 6 X 4 X

project)

Opposite page selected arrangements prints from infinity series

6X4X

#0044 2011

digital pigment print on handmade paper by Tibetan monks 13” x 9.85”

88 89 ›

On this page is selection of illustrations from the 6 X 4 X

Book.

(see other pages in this section about 6 X 4 X

project)

Opposite page selected arrangements prints from infinity series

6X4X

#0117b 2011

digital pigment print on handmade paper by Tibetan monks 13” x 9.85”

Private Collection, Poland

90 91 ›

On this page is selection of illustrations from the 6 X 4 X

Book.

(see other pages in this section about 6 X 4 X

project)

Opposite page selected arrangements prints from infinity series

6X4X

#0157 2011

digital pigment print on handmade paper by Tibetan monks 13” x 9.85”

92 93 ›

On this page is selection of illustrations from the 6 X 4 X

Book.

(see other pages in this section about 6 X 4 X

project)

Opposite page selected arrangements prints from infinity series

6X4X

#0161 2011

digital pigment print on handmade paper by Tibetan monks 13” x 9.85”

94 95 ›

On this page is selection of illustrations from the 6 X 4 X

Book.

(see other pages in this section about 6 X 4 X

project)

Opposite page selected arrangements prints from infinity series

6X4X

#0206 2011

digital pigment print on handmade paper by Tibetan monks 13” x 9.85”

96 97 ›

On this page is selection of illustrations from the 6 X 4 X

Book.

(see other pages in this section about 6 X 4 X

project)

Opposite page selected arrangements prints from infinity series

6X4X

#0145 2011

digital pigment print on handmade paper by Tibetan monks 13” x 9.85”

98 99 ›

On this page is selection of illustrations from the 6 X 4 X

Book.

(see other pages in this section about 6 X 4 X

project)

Opposite page selected arrangements prints from infinity series

6X4X

#0200 2011

digital pigment print on handmade paper by Tibetan monks 13” x 9.85”

100 101 ›

On this page is selection of illustrations from the 6 X 4 X

Book.

(see other pages in this section about 6 X 4 X

project)

Opposite page selected arrangements prints from infinity series

6X4X

#0125 2011

digital pigment print on handmade paper by Tibetan monks 13” x 9.85”

102 103 ›

On this page is selection of illustrations from the 6 X 4 X

Book.

(see other pages in this section about 6 X 4 X

project)

104 105 â&#x20AC;º

Time, Our Most Precious Resource… it is perishable and irreplaceable. We are given all the same amount – 24 hours per day. The quality, joy, and impact of our lives are directly related to how wisely we use the time we have.

‹ 106

GV_Clockwork

107

[software application design and installation]

A Time for Everything 1 There is a time for everything, and a season for every activity under heaven, 2 a time to be born and a time to die, a time to plant and a time to uproot, 3 a time to kill and a time to heal, a time to tear down and a time to build, 4 a time to weep and a time to laugh, a time to mourn and a time to dance, 5 a time to scatter stones and a time to gather them, a time to embrace and a time to refrain, 6 a time to search and a time to give up, a time to keep and a time to throw away, 7 a time to tear and a time to mend, a time to be silent and a time to speak, 8 a time to love and a time to hate, a time for war and a time for peace. …

Ecclesiastes 3:1-8

There is a time to watch the time…

“it’s time, it’s time…” 2011

Animation based on the mechanism GV_Clock Gallery Kobro, Łódź, Poland

video, cgi animation 42” flat panel monitor

108 109 ›

Falling Down the Rabbit-Hall 2011

1968 fragments of 24 hours on October 3, 2011

Gallery Kobro, Łódź, Poland

digital print on canvas 53.5” x 199”

110 111 ›

Falling Down the Rabbit-Hall – GV_CLOCKWORK – wall / table clock design proposal, 2012

glass touch screen display with aluminum body interactive interface 12” x 12” x 0.375”

112 113 ›

GV_Clock –

four different views of clock display with message notifications notification that only will appear when proximity sensor detects motion

12 : 23’ 44” PM

–

clock face without notifications – oposit page

‹ 114

115

A series of works entitled Plane Transformation is one

Plane Transformation

of the attempt to discover the double dependency.

From the series Vanishing Space

One of them is part of a monochromatic base — the background of latent dynamism barely perceptible intensity, whose order is disrupted by the collapse and incision area. This second aspect has a deeper effect because the relationship of light and shadow gets an additional feature of variability and penetration through the background layer to create new dynamic tension. This causes variations in the perception of relief and becomes a mechanism for transforming these compositions. The end result is a decisive choreographer recipient of these events, and my role is to create structures that invite interaction and new perceptions.

Body of work from the art exhibition at The Academy of Humanities and Economics Łódź, Poland October – November 2011

Compositions from the series ‘Vanishing Space’ Plane Transformation VS_03F_06 2011

mixed media

digital print UV on aluminum 36” x 36”

116 117 ›

Compositions from the series ‘Vanishing Space’ Plane Transformation VS_03F_04A 2011