Andrzej Nowacki. Exploring the square

Room 4: Pulsing energy fields
 

Once again, symmetry is introduced: it is the physically existent or only surmised vertical central axis or an ordering centre. Although the vertical rhythms dominate, they do not restrict; they remain the ordering principle alone. If previously, all lines and all intermediate spaces were arranged monochromatically along their entire lengths, now, they are divided according to colour or are shaded, so that for the observer, shimmering forms stand out and the images appear not as geometrically ordered compositions, but as luminous and pulsing energy fields. It is the symmetric order which combined with the repeatability of the rhythms brings forth an intriguing effect, as though the composition is merely a segment of an unending whole that develops further beyond the edges of the picture. The large number of layers contains that third, spatial dimension on the edges of which a depth appears to shimmer out. The gravity of the illusory forms no longer needs to be overcome; they float weightlessly in space, the curvature of which is now visible. We involuntarily become immersed in transcendence. (Figs. 20, 21, 22, 23)

A particularly expressive power is created by the reliefs of radically reduced colourfulness, in which only variations of black and white are at play. (Figs. 24, 25, 26, 27, 28) Thus, the multi-dimensional surface of the composition 24.08.15 (Fig. 24) consists of symmetrically divided squares which overlap in a sophisticated arrangement and slowly turn around their vertical axes. At the surface of perception, pulsing flecks, circles or even balls appear, which gather energy of the highest density. Where the interference of the energy waves takes effect, for a moment, the vibrating centre of the universe appears, only to disintegrate into galaxies of dark and light nodes just a moment later. 

Yet another space is opened by the large-scale, multi-part compositions (Figs. 29, 30, 31, 32), such as the relief entitled 15.01.17 (Fig. 30): a clear, multi-layer consonance of four squares, which permeate each other and rotate on the surface, as a result of which a lilac-coloured appearance is created – like a proclamation of the sacred. The colour composition of the squares (golden green and deep, pure red) produces an almost tangible depth and creates the impression that the image is opening up. It feels like entering the interior of a Gothic cathedral, with one’s steps echoing and with one’s view directed upwards towards the firmament. The monumental space is intimidating and uplifting at the same time. It brings the limits of existence into awareness, while also dissolving them in the dimension of infinity.

It is as though the reliefs involuntarily join to form pairs, without the artist intending to create a diptych. (Fig. 33) Their deep relationship with each other can be felt; their dialogue, or rather, their intimate conversation. A type of cosmic aura brings them together as two separate entities, which are illuminated from within and which are imbued with lyrical energy. The division of the surfaces of both reliefs has the effect that they break open horizontally in the centre and open up an entrance into the depth of another dimension. The space vibrates, draws in and announces the transcendence on the other side of the squares. 

A dynamic way of looking is needed in order to follow the individual colour situations and be able to analyse specific visual impacts of the reliefs. This requires movement: one circles around the picture, comes closer to it and distances oneself, changes one’s angle of view and perspective, allows the external light to take effect, concentrates on details and considers the whole. One succumbs to the illusion of the space and attempts to explore its sources within the colour world. It is only when it is viewed from a certain distance that the relief comes to life. And now comes the most essential moment for the appreciation of the picture: the experience of its existence as living, pulsing whole. There is a musical association here: one listens into the intensity of the colour voices, imbibes the wide range of dissonant accents and counterpoint forms, and follows the coloured consonances and the melodic line. Just as music is not static, but time-oriented, so the perception of the relief changes over time, whereby the observer introduces the time factor themselves.

A lively meeting and a poetic interaction are created. Simply looking at the images appears impossible; instead, they are ‘experienced’. A major synthesis of perceptions is achieved, which extends beyond the visual, and which not only incorporates the senses, nor only the emotions and the intellect, but which also extends into a subtle sphere that is difficult to describe. At the same time, it is an invitation to enter a secretive, pulsing space. The intense radiance of Andrzej Nowacki’s reliefs enable one to cross an invisible boundary. Perhaps it is the boundary of recognition, but perhaps the painter Jerzy Nowosielski is correct when he describes being touched by a reality “not made according to our measure”. During a speech at an exhibition opening, Hubertus Gaßner emphasised this point with particular clarity: “Without icon painting, there would have been no abstraction. After all, icons do not depict reality, but are spiritual material. In the Orthodox church, the icons were carried around and treated as material, physical objects. This is also true of Andrzej Nowacki’s pictures. And the difference is that while the icons were kissed by the believers, I would ask that you refrain from kissing or touching Nowacki’s pictures. But of course, you may kneel before them if you wish.”[6]