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Feb 19, 2014 5:36PM

The works of Natalia Załuska conform to that aesthetic and intellectual mood of the post-heroic avant garde, which the revolutionary inventions of form of the previous decades use as building blocks / modules of a new, eclectic artistic language.

Załuska’s works, in which generally a variety of materials are combined with a great sensibility for textures and haptic qualities, frequently refer to natural impressions, yet these are condensed and abstracted into primary structures which appear to be minimalistic in their geometric clarity, without actually being Minimal Art. It is a question of the sensual variation of a limited vocabulary of forms and colours, which opens up directly into the confinement of a new, different perspective on small and minor alterations, on a variety of forms of relief-like bulges, and the limitless possibility of the combination of geometric basic forms.

Natalia Załuska’s works create a sensibility for micro-calibration of sight, similar to the constantly permuting, cellular tone-structure of the work “In C” by Terry Riley. Lines, colour fields, triangles and gradually shaded pastel tones intensify in varied repetitions / sequences into an aesthetic gesture which permits the recognition of a closed artistic vision, yet which in similarity always evokes the other. In a line of sight related to Polish Minimal Art, for example that of Edward Krasinski and Jaroslaw Flicinski, a sort of art emerges that approximates reality metonymically, and which, in the universality of a codified form of expression, always allows something distinctive sensually to flare up.