Good Lines: Piotr Marzec

Art history knows examples where an artist approaches the same subject several times: several versions of "Sunflowers," a series of paintings depicting "Rouen Cathedral" at different times of day, different versions of "The Execution." The intention of such a practice is perhaps that one really likes sunflowers. Or that the painting depicting "Black Pacific," at the moment of transmutation from an immaterial idea into dried paint on physical canvas, lost along the way part of its splendor; but perhaps a second attempt might prove more successful. Maybe it's not at all about the categories of the elusiveness of the world of ideas, and the different versions of "The Enchanted City" are simply part of the design process; like freely sketched drafts, from among which we will choose the ideal pictogram of a hand with a brush painting a picture. There is also a fourth reason, which emphasizes the process of painting, and the magical aspect of affirmation contained within it: "Teofil painted the battle of Saint George with the dragon for so long until the saint won and people could dance" – the narrator tells us in a film based on the history of the Janowska group. The starting point for the first since 2022 solo presentation of Piotr Marzec's works is to show works in which the same characters return: Medusa, the Wolf-Man, Horses. This will allow us to see the design process, or the magical process; or to show how much I like drawing horses.