By Magdalena Wicherkiewicz
Logics and logistics of everyday life. Straight lines and pure colours allow for the internal balance to be achieved. Are we so imperfect that we have to be ‘straighten up’ or so organized that we need a similar surrounding around us?
World according to numbers. Defined. Perfect. Ideal man. Ideal city. Then – artists’ design, now – a ‘realisation’ in simulation order as the graphic software defines the numbers of colours, not possible to perceive with a human eye, not possible to express with speech, according to RGB colour model (colours are defined with a letter and a number – and we pay with lost sensitivity for becoming precise). A fully programmed mind feast. But an eye is still wandering, searching for a breach, a break, a disparity questioning the order, a disparity so subtle as an asymmetrical face.
Małgorzata Jastrzębska’s paintings raise suspicions. And disturbing questions. Questions about the sense and the possibility of abstraction. Circles vibrating with succulent colours. Lines purposefully dividing the surface: vertical, horizontal, and diagonal – all in dynamic balance. Pulsating. Energising. Deluding the spectator with a return to op art, orphism, afterimages caught in a net of geometrical order.
A calculated, sophisticated and intriguing game that is based on chaos, lack of plan, a moment of hesitation. To start with Jastrzębska’s paintings seem expressively defined, as precise as an ornament, to then slowly, shyly articulate uncertainties and understatements. They start to breathe the embarrassment of untidiness. They do not want to say too much though. They try to come closer to nothingness. To the nothingness, the non-being of tao that is everything and nothing and simultaneously it is neither of those things.