In his printmaking works, Leszek Wyczolkowski depicts a system of grids of square windows through which one is able to map the regenerative powers of nature. These apertures contain specimens of the patina of life, each is pregnant with the burgeoning forces in the organic world.

Wyczolkowski's works can be a metaphor for the ongoing scientific attempts to confine things for examination, the attempt to scrutinize microscopic order to extract the reasoning to make sense of our day-to-day lives. This doesn't always work. It seems as much as we try to narrow our perspective, we seem to isolate the mysteries that pervade the whole system. The more we understand, the more we realize how much we do not know.

Wyczolkowki's dramatic etchings create poetry from this phenomenon. Stacking and arranging small glimpses on stark white paper, like unhinged stanzas. Each is infused with a sumptuous rendering of an elemental surface: tree bark, patinated metals, liquid bubbles, human skin. Often the figurative depictions are juxtaposed with a velvety black void. These fully-inked squares become the manifestation of matter within Wyczolkowski's measured composition, hovering potently in the white void.

These powerful black and white etchings, comprised of separate plates inked and assembled on the press bed, are testament to the artist's expertise and confidence in his chosen medium. The virtuosity in the process is no less athletic or impressive when one understands the variables and potential foibles involved. The balletic assemblage of inked plates, sometimes involving many colours is a race with time and a tough wrestle with machinery - coaxing the press to push out delicate renderings, perfectly placed, on immaculate white paper.

Some of the most affecting works produced by Wyczolkowski are the prints depicting the rows of impossibly manicured trees. The irony of random growth pulled into the confines of a perfect sphere strikes an uneasy balance between order and growth. It is not too much of a stretch to look at these images as metaphors for the ongoing human struggles against injustice and oppression or imposed political rule. Quiet dignity and resolve are certainly the reassurances that exist in Wyczolkowski's prints, evidence of an artist's conquering of technique and a rigorous investigation of his subject.

Stuart Reid

Stuart Reid is currently, the Director and Curator, Tom Thomson Memorial Art Gallery in Owen Sound, Ontario, Canada

A MELDING OF STYLES
Wyczolkowski combines styles and influences in exhibition works

By Wes Lafortune

The artwork of Leszek Wyczolkowski seems to bubble and boil on the walls of the Triangle Gallery.

Sometimes classified as belonging to a school of neo-symbolism or neo-geometry, Wyczolkowski's paintings and etchings are a melding of styles and influences. The body of work is best appreciated on its own terms while understanding the underpinnings of heritage and training of this artist. The result is the exhibition titled, Leszek Wyczolkowski: Beyond Symbolism.

…Wyczolkowski uses elements that seem familiar: a bubble, liquid, the bark of a tree - all then removed from context and magnified with the abstraction achieving its own meaning.

"I want my work to serve the contemplation which is so necessary to a person, in order to discover one's own link with the world. I like to maintain a dialogue with the viewer. I never give an answer. I let the reaction depend on who sees it," says Wyczolkowski.

The contemplation Wyczolkowski begins with cubes and spheres full of matter that comprise his paintings and etchings. This presentation of the natural world being bound by geometric shapes challenges the viewer to examine each object and its unique structure.

…Wyczolkowski references Taoist philosophy with the five elements of life: fire, water, metal, earth and wood included in his work.

Tao, or "way", can be understood as the source of life and the five elements representing all life forms. The bubble, bark and liquid found in Wyczolkowski's geometric patterns are self-contained units, yet one can imagine them as the building blocks that could evolve into more complex life forms.

The philosophical influences continue in Wyczolkowski's paintings and etchings in the dualism of Yin and Yang. Dark and light, negative and positive space is combined in each piece to achieve balance and a sense of completion. What is left out of the frame becomes as important as what's included.

No longer are the spheres or cubes simply floating, but are arranged in a ballet of forms, each interdependent on the other. Wyczolkowski arrives at understanding life not in its entirety, but from the smallest molecules that fill the crevices of all living objects.

Whether appreciated as a visual metaphor for life or a reflection on Taoist philosophy, Wyczolkowski's work is a provocative point to consider all forms and our place in the world

…Wyczolkowski's symbolic language appears to express the principles of growth and continuous transformation that one finds in nature. It is as if nature itself, and the circumstantial facts of physical existence, had formulated their own language of expression in the profound depths of consciousness. At the same time, all the types of form created by Wyczolkowski are entirely independent of forms literally existing in nature; and they have been freed from the limiting specifics of detail. Particular form has become universal form, moving according to invisible forces within the cosmic scheme. Wyczolkowski, however, is not only interested in the suggestive and imaginative ramifications of his symbolic forms. But he also concerns himself with their grouping, and with their contrapuntal and harmonic interplay, frequently calling them symbolic constellations.

…Wyczolkowski's paintings are closely bound to his graphic works and resemble them in style. In his compositions of an amazing incisiveness, such as Network (1993), Veterans (2001) and Refinement (2001) - fantastic planes emerge, and forms are dispersed in an animated interplay between inner and outer spheres, while still retaining organic vibrations. Now, along with his biomorphic and molecular images, Wyczolkowski articulates also quasi-architectonic constructions in a form of arch, like in the Magnet (1993) and in Falling in Love (1997). In the former work, we are entering under the constructed, in the shape of a triumphal arch magnet, into the space charged with invisible powers of attraction. In the latter painting, the quality of enigma of the architectural element combined with the unexpected juxtaposition of the biomorphic elements - used as the emotive devices - suggest not only a nostalgia for the places once visited and remembered, but also the journey to the unknown, a continued odyssey of the artist. In his other etchings, Childhood (1993), Integrity (1994), and Companionship (1995), for example, Wyczolkowski succeeds in expressing a paradoxical combination of fantasy and classical serenity. To these works he gave a quality of monumentality by his expressive use of rhythmic black and white areas. Here, as before, one is struck by the imaginative freedom with which Wyczolkowski orchestrates a group of forms without loosing a rhythmic pattern.

…In some of his works, Wyczolkowski makes a reference to selected aspects from the theory of art. His etching titled ¾ (1991) presents a spherical bioform divided into three squares. It is pulsating with its surface of a constant transforming molecular mass. From this structural entity one square tears off, thus ending its perfect compositional illusion seen from the top of the pyramid. Despite its unstable condition due to the continuous instability of the molecular mass, this entire configuration may be compared to a balanced relation of two ideal Renaissance figures: circle and square. This configuration is echoed - to a certain degree - in his recent painting, Strategy from 1999. The aspect of circle and square continues in some of his other works. For example, encircled are also the motives of the naked tree crowns in his nocturnal aquatints: Moonscape (1994) and Genesis (1998). Paraphrasing Octavio Paz, an internationally renowned Mexican poet, they are the trees of life, which "are not green any more", the trees transfixed in luminescent limbo. What dominates, however, in these two aquatints is Wyczolkowski's emphasis on his relationship with nature and its atmosphere. The composition in both prints is extremely simple, with subdued tones of a chiaroscuro nature. Concentration on details isolates the objects from their surroundings, and links the objects and the spectator in a direct relationship. Out of these well thought out and consciously applied lines there grow the shapes, which dominate both prints as the geometrical and harmoniously balanced structures. The outward perfection of the treatment is fascinating, but it never hides the emotional content of both compositions, for graphic art is an act of meditation, a striving for purity and truthfulness.

…Wyczolkowski's fundamental association with nature has continued and has been regularly renewed throughout his artistic career. His intense identification with nature has resulted in it becoming an inner vision, a region of the soul, where are both, actual landscapes and landscapes of the mind, worlds of sense and metaphor.

Jacek Malec
Curator

A sojourn at the exhibition Forum'99 the art of Leszek Wyczolkowski will afford the viewer an unparalleled opportunity for visual consumption of art that will stimulate and satisfy, for rarely do we see work of this caliber at the hands of the modern painter or etcher. Optimistic and thought provoking, cunning yet serene the paintings and etchings by Wyczolkowski are intellectual whilst approachable.

The works in all his chosen mediums exude a personality of refinement, universality and are of unquestionable quality. As if a teacher the artist guides and leads us, poses questions but never imposes his answers upon us, for the conclusions drawn are as individual as the viewers themselves.

When I look at Wyczolkowski's work I ponder did he take inspiration from nature, things organic and biological, spatial and cosmic or perhaps did these elements borrow from him? He appears to have such a sensitivity and intimate relationship with these elements his providence over them would not be questioned.

Wyczolkowski's use of color is finely orchestrated. Vast areas of monotone held in comparison to finely detailed areas set a beguiling atmosphere. Those broad areas of pure color are far from static and in low light conditions one can see the artist's ability to bring forth light from darkness.

The compositions and configurations of Wyczolkowski's graphics are for the most part very straight forward adding credibility and a sense of truthfulness. They like the artist himself are stable and confident but always understated. In his etchings and mezzotints the blacks caress the handmade paper with the richness of velvet, sharp lines that are more than crisp contrast so elegantly with the delicate nuance of tone rarely seen today.. When color is introduced to his etchings it is coveted and almost rationed, the works possess only the precise amount of color required to achieve his desired effect.

This is an exhibition of renewal, an intellectual and emotional journey, one in which the artist would like to surprise the viewers and himself.

Leszek's craftsmanship, suggestive lighting and his precision in a painterly fashion sing the arias of Old World values.

An invitation to this exhibition is a requisition for artistic enrichment.

L.P. Topping New York, 1999

(introduction from catalogue - Forum '99 The Society for Arts, Chicago)

Leszek Wyczolkowski's etchings and paintings have a strong poetic resonance. Examining the allegorical potential of natural images, the works speak loudly against man's attempts to control his environment -- they reveal the results of such attempts to be at once disheartening and reassuring. By imposing systematic and mathematic tools, rational and restrictive methods on nature, one discovers an inability to categorize it. The machinations of reason are incapable of grasping systems larger than themselves. The powers of the natural world and their resilience are what sustain man, and confounds him. As man is an embodiment of that natural spirit, Wyczolkowski's images can be read as manifestos against such oppression.

…Wyczolkowski's etchings, which utilize aquatint techniques, demonstrate a technical virtuosity. The artist creates intricately detailed images of textures: wood, tree bark, rock formations, surfaces which suggest paradoxically human skin, patinated metals and even outer space. These images are all etched on square metal plates which become printed stanzas in visual poems. Arranged in many patterns, these plates are the pictorial information which is juxtaposed with the pristine white emptiness of the page and, in some instances, with the velvety blackness of a fully-inked square. The rigid geometry of the arrangement of the squares is at odds with their inner organic freedom. We read the print as a whole story, each square is a metaphor, building upon the next.

Within the static mapping of the squares, the images hover between pure abstraction and the figurative. There are no immediately recognizable forms, only textures, surfaces and segments of a greater object. Within the confines of these squares, the force of life and growth pulses with an indomitable rhythm and strength. Leszek Wyczolkowski shares and affinity with the Belgian painter Rene Magritte (1898-1967), in terms of subject matter and intent. Both artists take great licence with familiar objects, playing with their scale, taking them from their natural context, pointing out their metaphysical being. The paintings included in this exhibition also bridge the gap between the abstract and the figurative, lingering in the territory of the surreal. They depict the entwining branches of trees magically melded into geometric topiaries set against Rothko-inspired bands of colour. Are we to feel that the growth has been stunted by the spherical or cubic confines? Rather, the branches present the potential for awakening, their budding leaves will break the confines of their geometric prison, reclaiming the natural abandon of growth. The fact that they so densely occupy the space defined by their oppressor, aptly illustrates an unconquerable spirit and persistent urge to expand beyond any parameters set by arbitrary forces.

The urge to expand, to exceed our confines, is a restless urge. Wyczolkowski shows us, in his paintings and etchings, the unseen power and fortitude of nature. What we are led to realize is that we are not separate from the ongoing struggle of organisms to succeed and thrive, despite the prescribed limitations of our environment; we share in the inherent optimism which propels the universe.

Stuart J. Reid, Curator, Art Gallery of Mississauga, 1996

...The rigorous, vertical and horizontal, geometrical lines of the construction, which suggest a state of suspension, of motionless contemplation, find with Leszek Wyczolkowski their counterpart in the microcosmos of biomorphic forms created in imagination which refer to the external world, both animate and inanimate. It is, to quote Theo van Doesburg something of an attempt to find "a perfect balance between stillness and motion", to establish a sort of a physical relationship which keeps in equilibrium the apparent opposition between the world of spirit and matter, reason and emotion and to make them communicate and penetrate each other.

Gregory Bujek, "EXIT New Art in Poland" (Magazine) No. 2(18) 1994

At a moment in the history of art when painters are less painterly, when indeed they use less paint and colour on their canvases it's a welcome change to meet the work of
Leszek Wyczolkowski.

Leszek's use of paint springs from old traditions and from his love and knowledge of the medium. His natural talent and his formal art education empower him with an unusual ability to manipulate colours and to create compositions that are refreshingly independent of the many art trends that come and go in rapid succession.

Leszek has a sure personal style and vision. His work is a mixture of realism, surrealism and abstraction. There is organization and control in his painting and also a meticulous attention to details. Frequently the three prominent elements of his style are combined in single compositions of great aesthetic effect. The viewer is transfixed by the luminosity and depth achieved in the open spaces and by thetotally realistic but equally luminous objects contained in that space.

Space travel, awareness of the universe, a strong sense of dynamics dominate his imagery. In some works the formalistic geometric imagery prevails. There are clusters of molecules arranged in a cube or erupting in a cloud, ther are spheres, squares and many elliptical curves. As a counterpoint to all these geometrical forms sometimes he puts a large and marvellously realistic flower into space.

This floating flower introduces a new dimension to the idea of space exploration. It's like a symbolical, graceful and terrestrial form of life floating where still, as far as we know, there is none.

Leszek's concern with the universe and the future of our planet is clearly expressed with these metaphysical paintings. His exceptional painting ability and his vision so pertinent to our times make him a significant force in contemporary art.

Luciana Benzi Toronto, October 1992

In the begining there was chaos.

Deep in the terrestial existance, exposed to the pain of consciousness, in turbulence of notions and thoughts, we had been awaiting help, porerless between light and darkness.

On arrival of the Master Artist mist has retreated, light and darkness set in order, colour has purified.

A laboratory for Spherical Studies was organized and during the next laborious years amazing configurations were created at the molecular level. Tested against popular ideas and truths, they were cleared of false mystery and exaggerations. New axioms emerged. Thought was halted in midair and described by form. From black and white prototypes the structures of colour were developed.

Finally it was possible to levetate above the ocean of chaos - interplanetary travel has begun in the Universe of Form. To be in this space requires from the Master, energy and courage of the first travellers, abilities and discipline indispensable to hold our perception " above the level". Together with him we are reaching subsequent planets, setting in, enjoying the exotic shapes, colours and lights and we are leaving them only to go further towards the next joys of experiencing the Art.

Leszek Wyczolkowski is the Master.

Adam Kolodziej, Production Designer Film & Television Toronto, 1991