sculpture patinated bronze, polished, dimensions: 36 x 18 x 14 cm, signed on the back - author's mark: StanWys edition 3 of 10, 2010
sculpture on white marble base
WYSOCKI STANISŁAW (b. 1949)
Studied in 1978-1980 at the Academy of Fine Arts in Poznan and in 1981-1986 at the Hochschule der Kunste in Berlin in the studio of Prof. J.H. Lonas.
Diploma in sculpture in 1986.
During his studies, apprenticed at the Herman NOACK Bildgieserei sculpture foundry. In 1990, own studio Pery Green near London. The artist has had about 40 solo exhibitions and dozens of group exhibitions. His works have been exhibited in Germany, Italy, Denmark, Sweden, England, Turkey and numerous galleries in the country. He received the 2011 Silesian Cultural Award.
The artist currently lives in Wroclaw.
Content elaboration
Stanislaw Wysocki is a sculptor who has developed an artistic formula, recognizable at first glance, focused on the female figure.
A woman is for Wysocki the highest ideal of beauty, a source of inspiration for creative work.
As he himself wrote: "I want to show the ideal form in art. I don't want to frighten people, instruct them, advise them how to live. They have enough evil and sadness in their daily lives. I want to show them beauty, love, warmth.
And the female body, fascinating by its ideal shape, is the apotheosis of life" (Mariusz Urbanek, Carve Beauty [in:] StanWys - Stanisław Wysocki - sculptures, Wroclaw 2008, pp. 5-6).
Wysocki composes his sculptures using simplified, strongly geometric solids, shaped, however, in some parts in a way that suggests fluidity and lightness of matter. The women, usually standing (less often lying or kneeling) are usually framed in delicate movement, as if they were being swept by the wind. Wysocki's dominant tendency is to place the center of gravity in the lower part of the figure, allowing it to slowly gain lightness in the upper part. The bronze sculptures thus gain a perceptible heaviness of the figure, negated, however, by the impression of movement or the impression of "climbing upward" or "rocking" often used in describing the artist's work. An interesting procedure in the formal layer, which Wysocki uses, is the textural differentiation of individual parts of the sculptures, contrasted also by means of sharp cuts and play of colors. Wysocki moves smoothly from dark green patina to carefully polished golden surfaces.
