1. Katarzyna Feiglewicz, Untitled, tempera and oil on canvas, 68 x 40 cm; private collection

artist I’d exhibit: Katarzyna Feiglewicz

It took me quite a while to finally get started with the first article. My only excuse is that I have just begun a new job, a dream job of a Chief Curator at the Gallery of one of the oldest artistic academies in Poland.

Beginning a story is probably one of the most difficult things to do, especially if it’s meant to be the first of many stories that are yet to be written. That’s why I decided to begin with an artist that does not quite meet the criteria of art I’d exhibit. Obviously it’s not because I wouldn’t exhibit her at all. On the contrary — I’ve already done it once, and I definitely would do it again.

The art that Katarzyna Feiglewicz creates has always been dear to me, as
I had an unique opportunity to witness how it developed. Extremely hard-working artist she is, and just as much versatile. Her early works are of varied genre: still life, interiors, portraits. All of them peaceful, geometric, composed with great precision. Flat color patch combined with soft and subtle chiaroscuro dominate as means of expression.

If I were to pick a set of Katarzyna Feiglewicz’s early works that I prefer most, I would go for the interiors. These tiny pictures are truly multi-dimensional, composed of many layers. The observer is invited to catch a glimpse of what can be seen through half-opened (or maybe half-closed?) door. The color is subtle, the light seems to be unearthly, as it’s usually cool and blue. I especially enjoy these paintings’ fine, witty details, such as a door plate hanging askew (fig. 2) that contrasts with classic, one-point perspe-
-ctive.

2–3. Katarzyna Feiglewicz, Untitled (Interiors), 2012, oil on canvas

It is truly amazing how the art that Katarzyna Feiglewicz creates evolved within past two years. A formative moment came in 2012 when she became fascinated with hilly and woody landscape of southern Poland. Her first landscapes were very pictorial, painted in a watercolour-like manner, composed of dozens of nuanced color patches.

4. Katarzyna Feiglewicz, Untitled (Makowska Mountain), 2012, tempera on canvas, 20 x 20 cm

Quite often the landscape is enhanced with a staffage — a figure or a portrait placed in the foreground (fig. 5). A wide and distant view makes trees, houses and other elements of landscape look a bit like topographical indications. Artist observes the paysage from different angles and perspectives — sometimes it looks like a view from an airplane’s window, sometimes like a panorama seen from the opposite peak.

5–6. Katarzyna Feiglewicz, Untitled, 2012; left: oil and tempera on canvas, right: tempera on canvas; both private collection

Throughout past one-and-a-half year Katarzyna have been developing her own, unique manner of painting, gradually reducing means of artistic expression such as color, composition, and perspective. Her works became less depictive, more abstract and symbolic. Instead of creating the substance of the picture, color serves as a source of light. What is probably most important about those paintings is their theoretical background — something quite uncommon among todays’ painters of the youngest generation. Katarzyna Feiglewicz sees the process of creation as something that derives from conviction, which is so much stronger than just intuitive impulse.

“The moment that I realize (…) the fact of being lead by something external is a terrifying moment, although my most awaited.
That’s why I consider the whole creative process to be a sort of
misterium tremendum et fascinans.”

Katarzyna Feiglewicz (2014), Conviction (MA thesis), p. 1

With the series Conviction Katarzyna started to work on sets of pictures, reinterpreting and expanding a particular motif in a few versions. The artistic decision she made is extremely brave, as her works seem to balance on the edge of painting right now. What will it develop into? I don’t know yet, but I’m pretty sure it will be amazing.

7–8. Katarzyna Feiglewicz, left: Conviction II, 2014, oil on canvas, 75 x 75 cm; right: Conviction V, 2014, oil on canvas, 70 x 40 cm

?

Why would I exhibit the oeuvre of Katarzyna Feiglewicz?
Because I see it as a rare example of consequent, intimate contemporary painting that has a strong theoretical background.

If I could compare the creation of Katarzyna Feiglewicz with another artist, who would it be?
I’d be really excited if I could display her works alongside landscapes and cityscapes of L. S. Lowry (1887 — 1976).

L. S. Lowry (1887–1976), left: A Landmark, 1938; right: The Lake, 1951; Property of the LS Lowry Collection

© LS Lowry Collection, http://www.thelowry.com/

All images were reproduced thanks to the courtesy of the Artist.
You can find the portfolio of Katarzyna Feiglewicz by clicking here.

— olga grodniewicz —