Fragment

Rarely do we encounter an artist who expresses himself freely in many fields of art such as: painting, drawing, graphic art and literature. An artist of broad horizons, both intellectual - reaching from the painting of Pieter Paul Brueghel to philosophy and Far Eastern art. Jan Tarasin simplifies the surrounding world to a sign or a rhythm, using the most primal inspirations, such as the laws and mechanisms governing nature. Such extensive searches for themes stem from the artist's conviction that European culture has closed itself within a limited circle of the philosophy of anthropocentrism (the view regarding the human being as the centre and goal of the universe) and European cultural codes. Jan Tarasin, despite using synthetic forms, builds complex, thoroughly considered, newly constructed compositions. It seems that he is occupied with semantics in the field of painting. In the artist's paintings the signs and symbols placed on the canvas seem like carelessly thrown blots of paint. Is it really so, or are they perhaps studies of the kinetics of bodies and objects, or research conducted using a microscope? From the deconstruction of the object arise precisely Records, Dynamic Phases, Warehouses - the cycles of Jan Tarasin's canvases. The painter's paintings compel one to abandon order or rational thinking in favour of new cognitive experiences and the independent shaping of the surroundings. A consequence of both the creative method and the broadening of the cognitive horizon may be the desire to examine closely that which appears interesting. Hence Jan Tarasin's painterly studies of individual fragments of paintings, which is documented in the offered work, as well as in other canvases titled precisely Fragments, Situations, Complications, Sequences. PROVENANCE: - private collection, Poland - the collection of Ewa Pełka - directly from the artist