Page 27 - Museum

Therefore the invisible, but after all real -
gave a complete explanation to all what was
material and permanently variable, including
the final physical deterioration. The screen
made possible a reasonable intellectual
interpretation of the visible world. Recalling
the artistic phenomenon of the retabula
from the Middle Ages, so useful in the art,
creates large possibilities of both the formal
and intellectual expression. The reality is
sufficiently complex and sophisticated,
even when one does not tr y to find its
transcendent dimensions. Therefore the
Artist says: ,,when we denude all, we still
do not understand anything”. And therefore
Barbara Pałka-Winek’s ,,Screens” would lead
to the understanding. They may screen or
differentiate. They may also, as the author
says ,,serve the spiritual liberation”, by
crossing behind the matter, into the glassy,
transparent sphere. The latter is a transfer
into another dimension, difficult to achieve
by painting. The luminescence, emanescence
of the picture is an important formal problem
of the Artist’s painting. It is strongly opposite
to the coloured spot, materialised by the
shapes of an object or a person. The Artist
confesses: ,,That, what I am doing may
lead me to the pure abstraction. 1 do not
want that.” Therefore, the strong contrasts
bet ween red and black have a definite
meaning value for the Artist. There is no
abstraction. There is a play in the highest
tones, engaging the man emotionally: the
lovely silhouet tes are accompanied by

MAGOIMAGO, 2008 OWN TECHNIQUE ON CANVAS 78.5X39 IN.
| 140X100 CM. 
 IMOHIMO, 2009 OWN TECHNIQUE ON CANVAS 78.5X39
IN. | 140X100 CM.
 SCREENS IN RED, 2012 OWN TECHNIQUE ON CANVAS
78.5X39 IN. | 140X100 CM.
 IMAGO, 1996 OIL ON CANVAS 78.5X39 IN. | 140X100 CM.

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