Pia Krajewski

Untitled (HaggebuttenRöhren), 2019

Oil on Canvas

150 × 300 cm


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Artwork
Description

Pia Krajewski straddles the distinction between abstraction and figuration, painting poetic objects that are at once familiar and unfamiliar, depicted without the typical narrative context of a still life.

A purely aesthetic creation remains; the focus is not on interpretation but on firsthand visual experience and engagement with texture and hue. This haptic emphasis makes for gentle exploration, devoid of the stressors and stimuli of contextual analysis.

Untitled (Haggebutten Röhren – Rosehip Tubes), 2019 encourages the viewer to simply look and experience, to melt into Krajewski’s use of vibrant colours and curving shapes, to absorb the image’s physical characteristics.

Each element takes on a new life in a vacuum of visual intake. It becomes a new shape, a different texture, when the viewer forgets (or never knows) of the source material.

Unanswered questions prompt an almost tactile exploration of the painting that yields new discoveries unrelated to the inquiries that spurred them. They are nonetheless enjoyable finds: contemplating the sensation of fabric rubbed between two figures, imagining the smooth, hollow tubes and delicate indentations of two berries.

Pia Krajewski wants the audience to eschew the overwrought cerebral analysis of a still life for a gently embracing contemplation of its physicality. Fully centered in the moment of experience, Haggebutten Röhren allows viewers to sink into the painting, using their sight as their sole and primary source of engagement.

About
the artist

Pia Krajewski was born in 1990 in Cologne, Germany. She spent seven years at the Kunstakademie Düsseldorf studying painting under Dietmar Lutz and Andreas Schulze. Selected shows include 72. Internationale Bergische Kunstausstellung at the Kunstmuseum Solingen and a clue at the bookstore Walther Koenig at Kunsthalle Düsseldorf. In 2018 Krajewski was the Winsor & Newton Artist-in-Residence at the Künstlerhaus Bethanien, Berlin.

Krajewski’s paintings are characterised by a certain poetic representation of objects. Lemons, arms, tables and vases are carefully selected and depicted throughout her work. The objects’ appearances are clear, but removed from their everyday environments their meaning is annoyingly elusive and puzzling. Krajewski creates a world where coherent narrative is lacking, however physicality is never in doubt. Her imagery is formally meaningful where it is intellectually frustrating: the painted objects are given a uniformity by their presence on the same picture plane.

The logic of Pia Krajewski’s paintings is the logic of vision made bare. She shows the viewer a kind of parallel world, a world comprised solely of sight: a world which promises the knowledge of what it really is to see. In the absence of any cerebral cues, the viewer is moved to this understanding physically rather than intellectually, attaining a position of distance that allows revelations and associations to rise to the fore.

The images Pia Krajewski creates are sensible: just look at the hands and arms that reach under tables, point towards picture frames. In a move that recalls medieval theories of vision, sight is represented as a finger pressing a vase: one thinks of Giotto’s figure of Circumspection in the Arena Chapel, her eyes protruding tentacles, testifying to the physicality of seeing.

The artist sensitively guides our perception; her paintings are as pleasurable as they are gentle, reaching out to press softly on our eyes.


The logic of Pia Krajewski’s paintings is the logic of vision made bare. She shows the viewer a kind of parallel world, a world comprised solely of sight: a world which promises the knowledge of what it really is to see.


Pia Krajewski
on Artuner

Part of the
exhibition

April 11th, 2019 until
May 5th, 2019
Curated by Jurriaan Benschop