Both series, ACRYLIC ON PANEL and PROLETARIAT ARROGANCE were the result of using an architectural program in a very simple, geometric way. “Sketching,” purely in the digital, I would create, render, pull, and stretch simple shapes and experiment with colors until I felt happy with the composition.
Using the digital sketch as a reference I would project, or print & trace, the design onto a panel. At this point it becomes a very mechanical process: looking at the colors on the computer, manually mixing and matching the paint (a multitude of tests and swatches) and painting in each section which ultimately creates the subjects. Lots of Martha Stewart tape. After each color is applied, peeling of the tape is my little reward. This is all very laborious, monotonous, and secretly masochistic.
I get ideas when I walk, drive, or go out at night. I often take pics with my phone if I see an interesting shape or combination of light somewhere. I look at windows, tables, living rooms—how the furniture is arranged—and I’m really attracted to staircases. I made a few paintings of transparent staircases that just sit there, leading nowhere. I love exploring the idea of an artist who has a false sense of achievement.
The most inspiring things for me are empty wood panels ready to be primed with sweet & sour colors and all the music on Spotify. I paint for up to 14 hours sometimes and I rely on tons of music; from classical to French Electro (MR OIZO is my hero). In fact, if the sonic qualities of an electro song freak me out, sometimes I will try to come up with what I think would be a cool album cover or graphic for that song. I named one of my pieces after MR OIZO, an homage if you will.
I want my paintings to appear almost too simple at first glance, then slowly, invite the viewer to scrutinize every angle, edge, and color. I want people to think about what these things mean without attaching too many words onto it. In my ACRYLIC ON PANEL works, some of the pieces are inherently contradictory in subject and color-shape. Figures that are clearly trapped, stuck, cut, injured or doing something sordid and questionable, are decorated in vibrant colors and closer to children’s toys rather than referencing human anatomy, although, the rectangular penises could argue against it.
I love contradiction and dark humor. Things that can be black and white at the same time. To experience day and night at once. To able to listen to abrasive electronic music that is atonal, off-rhythm in the way one would listen to Chopin or Mozart. This is the kind of antagonistic harmony that I hope to convey in my work.
Words by Pawel Przewlocki
Pawel Przewlocki was born in Krasnik, Poland in 1984. He currently attends Tufts University, where he is expected to receive his BFA in May 2015. He previously attended the Studio Diploma Program at the School of the Museum of Fine Arts, Boston from 2010 to 2014. He has also studied painting and sculpture at the Cyprus College of Art and Metáfora Tallers d’Art Contemporani in Barcelona. Przewlocki has been featured in such recent group exhibitions as out of bounds at Maddocks Gallery, the Rockport Art Association, Massachusetts; Phantomaton at the Nave Gallery Annex, Somerville Massachusetts; and Tenfold at OGO Gallery, Boston. In 2012, Przewlocki received the Faculty Painting Award from the School of the Museum of Fine Arts, Boston. The artist currently lives and works in Boston. You can view more of his work at www.secretparty.4ormat.com and follow him on Facebook.