Painting as a function of time
Krzysztof Gliszczyński’s art comes from his philosophical reflection on time and the human presence in time. Time is the past, the present is not to be grasped and the future can only be speculative. Each thought and each gesture become past at the moment of their appearance; they become a part of a large rubbish dump – a haphazard stockpile impossible to control. What can be salvaged from it? Is it worth the effort to fight against it? Does a rebellion against the continual transgression into the past have any sense? The only possible positive stance towards time is the awareness of its nature and its never-ending transition. This is the departure point of all Gliszczyński’s works. However easy it may be to distinguish stages of the artist’s work, dealing with issues signalled by the titles of his successive series, the thought of the structure of time and its consequences remains the superior issue.
Because time = the past, Gliszczyński’s work is a constant dialogue with the past, against which it has adopted the stance of a penetrating researcher. Flowing time has always accompanied man, yet it must have began at some point, it must have had its beginning. The pondering on the point of beginning has yielded the series “Sephiroth”, which the artist formed as an installation. The “Sephiroth” is the image of the beginning of time – the materialisation of a Divine Intention, creating the Cosmos through successive stages of emanation. The installation is formed in zones, referring to a general symbolism of forms. The bottom zone is governed by the regularity of shape, the obviousness of which is even more clearly indicated by the fact that, besides rectangular paintings, the artist has also included triangular and pentagonal pictures in it. This is the zone of becoming and the emerging order, while a spatial object hanging from the ceiling, reminiscent of tattered flags, evokes chaos.