About the artist
Szymon Kurpiewski was born in Konin in 1984. He studied at Poznan University of Life Sciences at the Faculty of Landscape Architecture between 2008 and 2013. His works are mainly oil painting. The space in his latests pieces is constructed on a base of a collage. The subject matter of his pieces are mostly the emotions accompanying careful perception of the reality. He moves within the classical painting, frequently contrasting the content with the form. Being faithful to painting he also opts for different forms of expression such as photography or computer graphics. His paintings are in the private collections both in Poland and abroad.
The whole creative process and its non-obviousness are also very important for the artist. Some decisions are taken within hours or days, and other ones in few seconds conditioning the final effect and depending on gesture or temporal outburst. Even so, once taken it stays forever, it can’t be repainted, washed off or corrected. That’s what water technique he’s using is characterised by
„Wild keys” is a multifaceted attempt of telling one’s emotions. It’s a form of a therapy which aim is to deal with the reality surrounding us as well as the inner conflicts.
We can read the series on various levels, starting from placing ourselves in the centre as a main protagonist, and finishing on thorough analysis of the human-world relation.
When I put on the yellow suit I fell safe. It protects me against the evil, harm, and disappointment. It covers my sore points.
It constitutes a protective barrier from under which I can observe „death” happening around.
At the same time its intensive yellow colour is a warning. It pulsates like a signal and screams ’getting closer is dangerous’. It warns like a bright colouration of amphibians and fish saying ‘I’m toxic, don’t come, don’t touch…’
I move amongst dead and already absent.
I watch the losses I suffered and the ones I caused.
I move silently like an intruder, thief, murderer, victim, refugee…and finally like an apparent winner.
At the same time bad and good, brave and fearful. I freeze myself and observe, gaze, asses the threat. I get rid of everything that has autonomous emotionality that may put me in danger. I stage the space around me. I build it from the pieces I can control, rule them. I’m not letting any emotional spontaneousness which could strike against me and hurt me again.
The scenographic character of this space allows me to play safe schemes and show tested emotions.
The suit may be an armour for each one of us. It’s a universal barrier enclosing in its interior like in a bathyscaphe. We’re submerging in black, sticky and unpleasant atmosphere of the planet – the hermitage.