Page 17 - Museum

according to their names – definitions. The
paradox of art is that the great collective effort
of people creating representations undergoes
gradual petrification. The representation
becomes a self-contained being and functions
as an independent phenomenon. Art finds its
justification in itself.

In the subsequent painting series following
the Screens, their author seems to get rid
of “the appropriateness” when giving her
works distinctive titles. This is because she
uses expressions that do not describe a given
painting but attribute a specific tone to it.
Among the works from the Imago series,
there are such titles as Flymuter, Angel,
Ektoimago, Imago-metamorphose, White
imago, Fluoroimago, Marabo, Imago Odonata,
Red Imago.

Just as in the Screens, also in this series, the
painting background is the outline of a human,
female figure. However, in the Imago series, it
undergoes colour-oriented transformations.
The leitmotif that introduces the subject of
a human body into the painting assumes the
form of a splash of colour well integrated
in terms of colours and composition. White
Imago is complemented by blues, whereas
Fluoroimago is a “galactic,” shining area
that becomes part of the whole painting’s
fluorescence. These closed worlds are perfect
as regards colour solutions.

Archetypes

Barbara Palka-Winek’s painting is closely
connected with all the aspects of woman’s

OBSESSION, 2009 OWN TECHNIQUE ON CANVAS 78.5X39 IN.
| 140X100 CM. 
 IMAGO ODONATA, 2008 OWN TECHNIQUE ON
CANVAS 78.5X39 IN. | 140X100 CM.
 LUMPILION, 2010 MONOTYPE ON PAPER 39X27.5 IN. |
100X70 CM.
 REQUIEM FOR THE BODY, 2014 OWN TECHNIQUE ON
CANVAS 78.5X39 IN. | 140X100 CM.

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