Jolanta Wagner’s art is simultaneously archetypal and modern. Her drawings’ primal essence contains a feminine-like monotonous weaving – a spider’s web of seemingly mechanically recorded events, thoughts and objects organized within a clearly legible system.
Also archetypal is her faith in the power of this method to create symbols – totems and signs of supernatural power. Jola Wagner must have faith in these powers; what could otherwise be the source of the strength and patience which are necessary to create her calligraphic representations of girlish silhouettes, pitchers, spoons, houses with gardens or jars filled with cream - like an Irish monk recording mythical dragons within the pages of illuminated manuscripts?
Her work is modern because of the clarity of her images, their legibility and perfectly planned architectural structure. When I first saw her drawings fifteen years ago, Jola’s works seemed too modern for the average art collectors’ tastes and were purchased at the time by only the most discerning of my Japanese clients; those who were sensitive to paper and to the art of calligraphy. The connoisseurs from the West noticed in her work a rare characteristics of original concept, astounding technical skill and a highly developed sense of a personal visual aesthetics.
Years have passed; Jola’s works have become even more ascetic owing to her de-saturation of colours and the simplification of forms. As all things move forward, today my gallery shows Neo pop alongside with “story boards” while the works of Jola Wagner still appear to be one step ahead of fashion due to their clarity and honesty, they continue to inspire the interest of younger artists, and all the while my clients who choose her works receive from me high marks when it comes to good taste.