Pia Krajewski

Untitled (Spitze), 2019

Oil on Canvas

150 × 180 cm


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Artwork
Description

In painting objects without their identifying context, artist Pia Krajewski creates poetic, distilled abstractions that cultivate a sense of unfamiliarity and exploration of tactile surfaces.

Pia Krajewski encourages the viewer to eschew preconceived notions, to silence inner monologues and submit to a more pure form of haptic, synesthetic experience — one in which only sight and touch are essential, in which the former begets a sense of the latter.

In Untitled (Spitze – Top), 2019, Krajewski’s decontextualisation cultivates an aesthetic and sensorial vacuum; the title, translating to ‘top’ in German, offers little indication of the identity of the golden, smooth object that is its subject.

Even so, the search for clues here is not onerous but curious. One need not strain to extract the maximal viewing experience from the artworks; the painting’s purpose exists in a vacuum — in turn opening the plane of exploration to the pleasures of haptic discovery. Here, Krajewski cultivates physicality through the imagined textures of a marigold peak formed by rich, smooth slopes encased in dripping, mossy yarn.

The ultimate result is a prioritisation of thoughtfulness rather than overthinking. The puzzle in ‘Spitze’ is not a question of the frustrating missing jigsaw piece, but rather an inquiry into the viewer’s own contemplative visual experience — affirming Krajewski’s emphasis on the physical over the cerebral.

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