Zbigniew Gostomski, PENETRATION OF THE QUADRATE, 2000/2015

43.0 x 33.0cm - lightbox (print on plexiglass, backlit) on the reverse a sticker with confirmation of authorship by Barbara Gostomska.

The first version of the work was a drawing from 2000 (signed and dated p.d.: z gostomski 2000), sold at the 9th Charity Auction for the "Exit" quarterly (Exit Foundation, Warsaw 26 XI 2006).



♣ to the auctioned price, in addition to other costs, a fee will be added, resulting from the right of the artist and his heirs to receive remuneration in accordance with the Act of February 4, 1994 - on Copyright and Related Rights (droit de suite)

Zbigniew Gostomski (born 1932 Bydgoszcz - died 2017 Otwock) - painter, draughtsman, photographer, creator of installations, one of the leading representatives of Polish conceptual art. From 1953 to 1959 he studied painting at the Academy of Fine Arts in Warsaw. He earned his diploma in the atelier of Prof. Michał Bylina. Since 1960 he has been associated with his alma mater - in 1988 he received the title of professor. He was one of the founders of the Foksal Gallery in Warsaw and co-creator of many artistic initiatives organized there. For more than twenty years he collaborated with Tadeusz Kantor as an actor at the Cricot 2 Theater and participant in hapenings. The main focus of his works was the issues of composition and image construction and the effort to integrate it with its surroundings. Initially, he created two-dimensional works in the spirit of op-art (the "Optical Objects" series from the 1950s and 1960s). On their basis, three-dimensional objects were created, in which the artist developed the issue of illusion and space. Their famous example is the steel relief designed for the 1st Biennial of Spatial Forms in Elblag in 1965. Later realizations took the form of environments (including "Environment" at the Foksal Gallery in 1967) and conceptual activities (including "It Begins in Wroclaw" as part of the Wroclaw 70' Symposium). In the 1980s, the artist mainly operated with symbols ("Three Crosses," 1984). The final stage of his work was dominated by sparingly abstract painting, often referring to motifs known from his earlier compositions.