Alchemy of a moment in space
For Jerzy Treit painting is the way and not a goal. He creates in the spur of the moment; its individual sensuality, adapting the technique, composition, artistic language to it and choosing the “props-figures”. The plot appears by itself and he prefers not to control it. “If it develops too much, the image dies under the weight of the meanings. This moment imposes the tastes and desires, which I try to include in each picture retreating it as the last chance for painting. Tomorrow does not exist.”
Painting is an internal dialogue with human passions. Surroundings, the light in nature, situations on the street or gestures of people in the train are the stimulants. When something surprises and goes beyond the scheme-it gives an impulse to paint. Then the artist reaches for the tool and the fun begins.
The technique and accuracy is not all, the essence lies much deeper – in discovering one’s own artistic writing and expressing of certain contents, which are like “original” in a complex process.
Everything draws a subtle background for fragile emotions. Life is a collage of tiny sparkles of passionate expressions in times of digital love.
Thus, for Jerzy it is obvious to paint without any additional stimulants. Being constantly alert and sensitive: “Love is the language of our senses.” Leaving the trail behind and over and over again wiping routes which people used to take for centuries. Tradition does not have to be repeated just carried on one’s back into the unknown. The mosaic unfolds.
“Painting is also speaking aloud about your weaknesses”, says Jerzy. He is far away from creating tracks for a manifesto or a program. The painting almost always arises on impulse. “Of course, sometimes there are weeks when I draw and paint in an emotional void but fertility occurs sooner or later and is caused precisely by these moments of peace. In the paintings I use the illusion figures existing in tangible and experimental world. I work in this way to hide a secret logical arrangement of art characters such as line, stain or color. I try to negate perfectionism and to “rule the chances” to hide the regularity and schedule of composing, mechanism of action by mathematical formula of the perfect beauty. Does it really exist?” Thus the artistic language is born and can be read each time in a different way.
The image is arranged in a cipher and to make the riddle even more complicated he introduces the mentioned “illusion figures” imitating, like in the theater, a story or an illustration. “This illustriousness always throws the first eye, and if there is nothing more and nothing of a deeper nature, kitsch occurs and everything turns into banality. You need to avoid this in art.“
L'âme d'un poète, 100x70cm, papier, technika własna
In his painting Jerzy Treit strives to give the truth about the “moment of life”. This is connected mostly with some “artistic history”, a story that he wishes to show from all sides at the same moment. Items, figures belong to the homogeneous existence which is unique and have common grief and grotesque. This consistency is a portrait of a moment where all elements of the composition are part of the same logic. “By creating this kind of alchemy of a painting, I often get the impression that I “pierce” on the other side of the composition, and I’m not just by myself but together with the existing world where everything becomes consistent and even guided by someone else. I would compare losing myself at work to a jump into the abyss without any additional security measures believing that I fall on my feet.”
The painting and the universe dash along. The universe must contain the picture; the picture must contain the universe. Where is the universe there is a picture and vice versa. Inside the painting, Treit tries to include everything that can be seen. Painting is nothing but the ability to see and to share it with others, while fleeing from searching a method for that. It is like separating the heart from the mind.
Painting is emotion is music.