Are you brave?
I think solaughterAnd why are you asking?
Because you are one of the few people I know in Poland who has the courage to treat jewellery as a form of expression. And you are consistent in this.
It may sound immodest, but there are very few such people in the world at all. And it's hard to be surprised, given that commercialism – very well designed, but still commercialism – dominates even the best galleries and museums. Only a handful are interested in showcasing conceptual works, which are more difficult to understand and, above all, to wear. They are bought by confident people, not afraid of the reactions of others – and there aren't many of them. That's why galleries have switched to „objects for quick sale,” i.e., „that go with a suit.” The fact that experts position conceptual jewellery more as craft-design rather than art also doesn't win it many fans. And consequently, it practically doesn't exist on the collector's market. So it's hard to be surprised that the potential recipient doesn't understand it. The reason is simple: they hardly ever encounter it.
Magda Kwiatkiewicz, owner of the YES Gallery in Poznań and proprietor of Poland's only private collection of goldsmithing art, states that the reason for the lack of interest in artistic jewellery is the fact that art has become so isolated that people do not understand it and lack the key to comprehend it.
I don't entirely agree with that. I often feel a sense of opposition to things shown in museums or modern art exhibitions; however, I have similar feelings towards ancient art. I try to avoid reducing all the work of a given genre to a common denominator. At CSW or at exhibitions in the Art Gallery in Legnica, I happen to „reject” 97 percent of the exhibits, but those 3 percent, those few things that speak to me and make me think, are enough for me. I mainly look for content in artworks. A great example of a perfect combination of content important to me with beautiful form is the work of Ai Weiwei – a retrospective exhibition I saw in Munich, it shook me. Ted Noten is an interesting artist, equally skillfully combining form with content.
I don't need to understand everything, but I need to be interested, educated, to seek. Even when I reject something, I try to understand why. Initially, I too was surprised by the jewellery made from drained human fat, which not so long ago caused a stir at the post-competition exhibition Silver in Legnica – however, I wondered why the author had combined such materials in a controversial way, what did they want to say with this? I found many interesting contexts, and the shocking form turned out to be just a tool to bring them out. And this is precisely the role of art: it should encourage us to reflect, to break stereotypical thinking.
The aforementioned Gallery of Art in Legnica is trying to do this, but the resistance of the material is great...
The problem is that this lack of interest characterises not only the audience but primarily the creators themselves. They don't go there, thereby showing that this is no longer „their” Legnica. Perhaps it's a form of protest, but in reality, in many cases, it's simply a manifestation of a lack of interest in what's happening around them and a lack of acceptance of the fact that the world is changing. You have to keep up to date, educate yourself, so that the world doesn't run away from us too quickly – and by this, I don't mean just going with the flow, but rather getting to know the „enemy” well. That's why I try to attend important jewellery and design exhibitions and fairs in Europe. It's the perfect opportunity to exchange views, meet people and their ways of thinking. And so that the world learns of my existence – otherwise, I have no chance of breaking through with my vision.
It seems to have worked, as you’re certainly one of the best-known Polish designers abroad. You collaborate with galleries in England, Germany, Austria and Lithuania, and you’re the only Polish winner of the international ‘Innovations’ competition at the inhorgenta trade fair in Munich. Last year, your work was exhibited at design fairs in Berlin, Paris and Vienna, as well as at the Łódź Design Festival.
Inhorgenta paradoxically gave me an award for conceptual work, which I find a little surprising as they usually award commercial projects – but it's proof that it's worth trying.
Indeed, I've had the opportunity to exhibit my work in a few significant places. I believe my approach, which we discussed earlier, and my work have been noticed. However, this is the result of intensive work, considerable time and financial investment. The situation is different for design students from Western European countries. There, behind the student is an entire promotional machine: first, a reputable university and the name of a well-known professor-artist, then exhibitions – and it's from exhibitions that well-known galleries „fish out” talented creators. This is how a name-brand is created, guaranteeing financial success and professional standing. This model doesn't work here; one has to forge a position oneself – it's not easy, but one must not be discouraged. I only consider this model to be possible and effective, perhaps I'd add a bit of luck... (laughter) I have such a naive belief that good work must ultimately triumph over bad, nor do I believe in success without „blood and sweat”.
You couldn't count on the school's support, nor the professors', because you resigned from it quite quickly.
I believe that without commitment, self-discipline, and a desire to learn, even the best professor can achieve nothing. I quit after the first semester at the Academy of Fine Arts in Łódź. I found much more enjoyment in the fact that I did many things out of total ignorance – I arrive at all solutions through trial and error. On my own. And that's precisely what motivates me; I don't like having everything handed to me on a plate, even if it takes much longer to achieve a goal.
You started with „suit jewellery”, so where did the idea come from to also create conceptual art in parallel?
I actually started with unique items, but they were rather clumsy attempts; I hadn't found myself yet. I began to treat commercial jewellery as a way to make a living, which guarantees me complete freedom in my individual pieces. This is very important to me because I don't have to adapt them to the dictates of the market.
These two fields, design and art – let’s call them that, although I’m always wary of the word – combine well. One couldn’t exist without the other, and in both, I give my all. This „ready to wear” piece is well-designed and well-made, with great attention to detail. From experience, I know that designing a truly good pattern for replication is no easier than creating a unique piece. However, the most important things for me are those „personal” works in which I want to express myself.
„I only want to be an artist from time to time, when I have something to say.” These are your words.
I have the luxury of not having to be an artist or a designer „full-time.” Ideas come from time to time, often in odd situations, actually already formed; my job is just to choose the technique. I don't force anything; what's more, I'm very selective with my ideas, choosing only those worthy of execution. I certainly wouldn't want to swap quality for quantity. This significantly limits the possibility of collaborating with galleries, but, as we've already discussed, there's no abundance of work in that field. However, I'm not complaining about a lack of challenges. In the near future, I'll be showing work at the „Schmuck” exhibition in Munich to celebrate the 30th anniversary of Galerie Spektrum and at an exhibition organised by Rose and Gisberta Stach, who are known here from a very good individual exhibition in Legnica. With Group Six, with whom we organised joint exhibitions for 10 years, and with Sławek Fijałkowski, As a designer and lecturer at the Academy of Fine Arts in Gdańsk, we are preparing for a joint exhibition at Galerie V&V in Vienna. In June, Galerie Lesley Craze will be showing my works at „Collect” in the Saatchi Gallery in London. In Poland, also in June, I will be exhibiting works at the opening of the new Design Centre Kielce. I am also preparing larger forms - that's my new passion lately.
I feel I'm in a good place, my job is incredibly satisfying, I've met many interesting people and places. I'm curious what the future will bring.
Recommended:
www.arekwolski.com