Artist Agata Preyzner confides in Art-Trope and comes back on his artistic intentions:
“Between my mother, visual artist and fashion designer, and my father, painter, I grew up surrounded by Artists and very close to nature, between Warsaw and a small house which also was an atelier, in the countryside. As a child, I loved indulging myself in the mystery of traditional Polish poems and tales.
The first time my drawings were exhibited, I was 3-4 years old, and then my father gave me paint preparation tasks such as dealing with transfer paper or color mixing. Nonetheless, having a father who is a painter was oppressive, which is the reason why, as I was going through my teenage angst, I considered studying astrophysics or medicine. But each time, Art caught me.
And there I was, at the age of 19, going to Paris where I studied at the Beaux-Arts, before enrolling the Ecole Supérieure des Arts Modernes majoring in graphic arts and advertising design studies. Coming to France was like a second birth to me. Still, I went back to Poland over summer in 1968 and found myself trapped in the events at the time. During this stay that became a forced one, what I missed most was the smell of the Parisian metro like a symbol of a familiar place. As soon as I came back to France I decided to stay there forever.
My studies gave me solid bases to start my professional life. At first, I worked with pharmaceutical and medical advertising agencies for their graphic design needs. Weary, I turned to press illustration and literary works, before the routine will make me flee once again.
When my parents moved to France years later, I collaborated with my father on mosaics and large scale murals. I have always kept painting concurrently but the more I painted, the more I dropped my other works in the side.”
Her sphere of expression
“Above all, I consider myself as an Europeanist; one might even say an internationalist. My work does not refer to the color, the composition, neither to the tradition of Polish painting; even though I have already been told that there were similarities to some of my father’s paintings, whose stay in France had an influence on, particularly the use of the light. My father had a very classical pictorial education that prevented him from going beyond, while my training was made of shattering codes. But maybe my subconscious keeps elements genetically charged…
I woke up one morning and told myself that I could not do any more “pretty-kind” artworks, like I used to as means to please. Suddenly, it became unbearable. Therefore I started a research phase.
I moved to a new house, and after a flood, a box of crystal glass was soggy, and when I wanted to lift it, all the glasses broke. While picking up the pieces, I found some interesting shapes, as well as the light that passed through. I tried to paint it. Objects, which previously were figurative, became abstract.
I have been seeing the world differently ever since. Despite what it may look like, my painting is not abstract. It always comes from reality. My series focusing on water is based on the observation of the waves of the Atlantic Ocean and the Pacific Ocean. My sons are surfers, that’s why.
My themes are often linked to my trips, my surroundings. It comes from things that I see, essential ones. However, inspiration can also come from music and dreams.
I always carry around my sketchbook, to capture snapshots that I am inspired with to reconstruct the emotions of landscapes later on in my atelier.”
“Are we still faithful as we change? I don’t dwell on a subject, I am in constant research, I’ve not stopped on a single way of doing, I am faithful to my own honesty, unless it is pride.
I try to reconstruct the emotion felt in front of these colors. As the world changes, I draw my inspiration from these changes and evolve with them. I am 71 years old, and yet, I’m still not sure I’ve found a style. There are, however, recurring themes like space and minerals with currently 6 paintings in progress. “
Her means of dissemination
“For a very long time, I did not feel ready to exhibit, likely wantonly, but I was not confident enough in terms of know-how. But creating and selling are two different things. Often, the painters have people who take care of daily life and all the administrative and relational duties. But when you’re a woman and a mother, it’s even more difficult.
The month of November 2017 is important, with an exhibition of small formats on free subjects at the Parisian hospital Armand Trousseau for sick children, another at the Arami d’Ermont, the most important Art fair in Val d’Oise county, another at the Champagne Salon and finally, between November 28th and December 3rd with a participation in the 111 of arts.
It is said that the Fine Arts market has never been as good as it is now, but it is true only for well-established artists, or for old paintings that cost fortunes. It is a kind of speculation. Buying becomes an investment, which is detrimental to the rest of those who create in tough conditions, even though they are excellent.”
The Artist and Art-Trope
“Art-Trope raises the issue of Artists’ disappointment within the current contemporary art market, and the chaos of the Internet. Many artists eventually withdraw, and stop being exhibited. Virginie is someone very brave to want to change it all. I like courage and adventure.
Today, I sell more in my studio than through exhibitions, which require a great deal of energy between research and realization. I hope that by facilitating contacts, Art-Trope keep on unleashing Artists because it’s essential. The freedom to think is the freedom to do, and if you do it sincerely, you do it better.”
See Agata Preyzner’s Art-Trope profile here.
Check out the selection of three exhibitions in three Art capital cities here.