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It is a language of work, configured by the man upon whom it bestowed life as well as his eternal return as memory, in which each fragment corresponds to a plural universe that multiplies its significance—its free, open and vulnerable meaning.

According to the relevant logic of meaning, this apt choice supposes that anyone can alter the conditions of this malleable instrument, and even increase its historic significance and that of its ancestral poetics, thus confirming its mythic profile, its vital revolution, its change.

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MATERIA DEL DESEO (MATTER OF DESIRE) is an ambitious gathering of the works created by Wolski over the past two decades.

This is the first occasion in which some of the works exposed—though produced by the same artist—coexist under the same roof.

The detail and precision accomplished in each of its forms attains laudable levels that, nevertheless, go far beyond the aim of exposing its own virtuosity and rejoicing with easy praise; their real aim drives upon an insatiable formal research about the different qualities materials can render.

Circles created in various diameters receive carved lines on their surfaces that cover the blackness of their mirror-like appearance, embracing their traces as a newfound skin.

The ethereal qualities of its subject collide with the material rigidness of the wire that conforms it.

An inner drawing grows from within while embodying the thousand curves that intertwine in order to sustain themselves.

Sharing the same hall, another huge drawing—this one created with ink on paper—(possibly one of the biggest drawings made by Wolski up to date) conveys one of the most recurring artistic languages active in his everyday processes, though rarely included in exhibitions of his work.

For many years, drawing has been one of the key foundations of his work.

Now, every one of his objects is a symbolic reference of that which first inspired them.

They all share similar stories, though always told in a different manner. 68-75 By Antonio Zaya Links, spaces, beads, these rosaries or light mandalas, empty in series, going beyond genetic geometry, beyond draw-thread embroidery, beyond their own weave and weft, are ancestral geometry, the degree zero of the work of xawery wolski.

Dreaming and interpreting life and the history of the earth from a different contextual perspective can become not only a collective, shared and public feeling in which these works engage in debate without endeavoring to make themselves understood or to build one-way bridges toward the Other.

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