By Marek Staszyc
What good can come from the collaboration between an artist and coroporate business? Apart from the obvious benefit of a regular salary, of course. The case of Przemek Truściński may be enlightening.
This young draughtsman has undertaken to dedicate all his creative potential to the needs of the vision of a delightful land of commercial plenty, fulfilled dreams of happiness in a hypermarket paradise. Heavenly bliss. That’s the way an artist is supposed to draw who serves the contemporary bureau of faith and propaganda, advertising. Comparisons between huge shopping malls and temples are more than just witty epigrams. In those artificially generated commercial cities, the ancient dream of harmony and immortality is preserved. No wonder that in the United States McCentres provide theri customers not only with mercantile delights, but also with raptures of a religious character. Services are held in special rooms. The sacred is always accompanying the profane. This post-modern earthly paradise needs beauty.
Beautiful, then, is what Przemek’s drawings are; perfectly fitting the conventions of the commercial Eden. We are delighted with the sight of the saints of that paradise: iconic stars with their iconic smiles in iconic ecstasy. Yes, I treat Przemek’s storyboards as a record of contemporary dreams of immortality. I like their insolent obviousness, their zealous optimism. This exaggeration has some of the charm of cheap devotional objects, based on ingenuousness and simplicity of intention.
Przemek Truściński as an artist aslo has another face. Participation in the project Wrzesień (September) run by Egmont, the publishers, gave him the opportunity for a different kind of expression: he told the story of an anti-communist guerilla hero . It was a fascinating undertaking. Attempts for comics to touch upon matters of such magnitude are admirable. On the other hand, the power of comic books may spring from their seemingly infantile straightforwardness and the plebeian origin of this bastard of pop culture. In this sense, I would not like the comic to grow more serious. Let it remain an emblem of our pop paradise. If in the future someone wishes to learn something about our beautiful times, they would do best to look through some comics – for example, the commercial storyboards by Przemek Truściński.