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DOI Artikel:Łuczak, Dorota: Wielogłosowość śladu: interpretacja fotochemicznych obrazów Andrzeja Pawłowskiego
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.29067#0243
WIELOGŁOSÓW OŚĆ ŚLADU
241
- zawieszenie pomiędzy malarstwem i fotografią nie pozwala na zacho-
wanie wyznaczonych przez tradycję podziałów. Wprowadzenie gestu ar-
tysty do zapisu fotochemicznego oraz śladów bezpośredniego odbicia rze-
czywistości stawia te prace na granicy, prowokując tym samym pytanie
o przyczynę ich powstania oraz status w odniesieniu do rzeczywistości
i autora.
POLYPHONY OF TRACĘ.
AN INTERPRETATION OF THE PHOTOCHEMICAL
PICTURES BY ANDRZEJ PAWŁOWSKI
Summary
The present essay is an attempt to interpret three cycles of works by Andrzej
Pawłowski, a member of the Cracow Group: “Prolegomena” (1962), “Omamy (Ślady
gestu)” [Delusions (Traces of Gestures)] (1962-1963), and “Epitafia” [“Epitaphs”]
(1984). The artisfs characteristic tendency to cross the boundaries of the traditional
media of art (photography, painting, sculpture) in this case expresses itself through
a specific use of the photochemical materiał in which light fixes the painterly gesture
and the traces of the artisfs body. Such a combination of gesture painting and the
continuation of the avant-garde experiments with photography from the early 20th
century provokes to develop a complex analysis which focuses on the problematic of
the tracę.
The starting point of the present interpretation is the focus on the process of
creation in which a significant role is played by the recording of the artisfs activity
and the influence of light on the ultimate record. By the same token, Pawłowski’s
works can be approached either as uniąue photographs representing the creative
subjectivity, or as records of the activity which is to some extent independent of the
artist. The former is placed in a context expanding the definition of the self-portrait
in a Bakhtinian way as well as with reference to the “Champs delicieux” by Man
Ray, Rosalind Krauss’ interpretation of Duchamp’s “With My Tongue in My Cheek,”
and the works of Jackson Pollock. What is important is both the fhdng of an act of
creation and the literał tracę left by the artisfs body - often his fingerprints. The
author interprets both options as potentially referring to the artist, in a manner
characteristic of the Peircean index, suggesting a referential relation akin to the
Derridean signature. On the other hand, the adopted approach emphasizes the vis-
ual autonomy of pictures, focusing on their visual perception - in fact, one of their
determining factors was chance, inseparable from the reactions among photochemi-
cal materials, which supports Pawłowskfs theory of the “naturally shaped form.” An
approach to the works of the Cracow artist in terms of the characteristic ąualities of
the materiał and as vehicles of a specific energy creates a new context of their inter-
pretation, illustrated by the ideas of the American process art. The finał part is an
analysis of the process of reception, understood by the artist as a moment of gener-
241
- zawieszenie pomiędzy malarstwem i fotografią nie pozwala na zacho-
wanie wyznaczonych przez tradycję podziałów. Wprowadzenie gestu ar-
tysty do zapisu fotochemicznego oraz śladów bezpośredniego odbicia rze-
czywistości stawia te prace na granicy, prowokując tym samym pytanie
o przyczynę ich powstania oraz status w odniesieniu do rzeczywistości
i autora.
POLYPHONY OF TRACĘ.
AN INTERPRETATION OF THE PHOTOCHEMICAL
PICTURES BY ANDRZEJ PAWŁOWSKI
Summary
The present essay is an attempt to interpret three cycles of works by Andrzej
Pawłowski, a member of the Cracow Group: “Prolegomena” (1962), “Omamy (Ślady
gestu)” [Delusions (Traces of Gestures)] (1962-1963), and “Epitafia” [“Epitaphs”]
(1984). The artisfs characteristic tendency to cross the boundaries of the traditional
media of art (photography, painting, sculpture) in this case expresses itself through
a specific use of the photochemical materiał in which light fixes the painterly gesture
and the traces of the artisfs body. Such a combination of gesture painting and the
continuation of the avant-garde experiments with photography from the early 20th
century provokes to develop a complex analysis which focuses on the problematic of
the tracę.
The starting point of the present interpretation is the focus on the process of
creation in which a significant role is played by the recording of the artisfs activity
and the influence of light on the ultimate record. By the same token, Pawłowski’s
works can be approached either as uniąue photographs representing the creative
subjectivity, or as records of the activity which is to some extent independent of the
artist. The former is placed in a context expanding the definition of the self-portrait
in a Bakhtinian way as well as with reference to the “Champs delicieux” by Man
Ray, Rosalind Krauss’ interpretation of Duchamp’s “With My Tongue in My Cheek,”
and the works of Jackson Pollock. What is important is both the fhdng of an act of
creation and the literał tracę left by the artisfs body - often his fingerprints. The
author interprets both options as potentially referring to the artist, in a manner
characteristic of the Peircean index, suggesting a referential relation akin to the
Derridean signature. On the other hand, the adopted approach emphasizes the vis-
ual autonomy of pictures, focusing on their visual perception - in fact, one of their
determining factors was chance, inseparable from the reactions among photochemi-
cal materials, which supports Pawłowskfs theory of the “naturally shaped form.” An
approach to the works of the Cracow artist in terms of the characteristic ąualities of
the materiał and as vehicles of a specific energy creates a new context of their inter-
pretation, illustrated by the ideas of the American process art. The finał part is an
analysis of the process of reception, understood by the artist as a moment of gener-