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Bildwerdung des Essentiellen

„The possibility to simplify somthing by eleminating the unnessecessary so that the essential is exprsssed “

(Hans Hofmann)

Spiritual shapes fleeting just as floating. It is so to speak, the undefined and unreachable that olga czewska’ tries to capture in her photographs and paintings. Her photographs show shadows whose essence of unclear forms are reduced light and dark. Misteriously oscilating forms take shape within the frame of the pictures giving a slightly unclear reference to the visible world.
The space remains indefined even enigmatic, evading an exact definition. Also the Choice of titles for her works do not allow a targible but rather ambigual associated acces. Like „montagna stabile“, „im totenbuch“, „della vita“, „flattern“

For hundreds of years the validity of shadows was representation, has been as Dement of the clear positioning of objects in space, Olga Czewska fundamentaly enhances this tradicional perception. The shadows do not confirm the presence of solid matter but instead take on their own independant form in the photographic.

Olga czewskas paintings also show indefinnite, but nevertheless simple forms. In clear contour against as empty background they themselves display structures and symbols that remain mysterious and enigmatic. Amorphic forms interact with the empty surface, ist shape seeming todevelop from nothing. The elementary simolicity points to the japaneese influence, whereby a work only has validity thoughmaximal reduction. At the same time it seems as ifprehistoric signs become contemporary, communicate universal human knowledge. This way the visual linguistic consequence is withdrawn.

Olga czewska’s work realise and so doing extract themselves from Conceptual, realistic world. This also gives reference to her constant interest in music – as accompanist In the creation process as well as image avocation: music particulary is an art from beyond language.

The visual in its versable, cultural content connects with the imaginative Willingness and sentiments of the observer. During this act of observation the objects come alive and though the vers simple forms general connections become evident, giving reference to the interwriting of past and present, denoting the common roots of cultural expression in all mankind.bEverything seems inseperably united intervowen.

Finally in this vacuum and timeless kontinuum the convertional methods of picture narration have become insignificant.

Olga czewska’s work delives no stories or information, they are contrary to those who seek a clearly defined realism. This is particularly the case for photography whose demand for obgectiveness has always defined the medium. Here this new, completely charged function is recognisable.

Apart from the commentating and valuating connection there exists now a different manner of defining photography, in fact, the art of reduction as well as unfocus, gives something to photographic memory, The obgectiveness of reality orientated awareness. Her works though withdrawalenable a perceptive, misterious impression and are based on an elementary, timeless and individual outlook.

Olga czewska’s pictures question the essential human identity. These works enable us to see behind the matter and advance to the essential. They are in this way spiritual, detached from manner, a mental connection to transcendeance, to eternal creation.

Finally: the artist uses the untouchable image form and at the same time reflects the possibilities of this medium, photography, as in painting, sculpture and drawing. The shapeless contains solid presence by means of art.

There, togetjer with the observer, it begins to come to life, and new experiences and recognition can develop.


Dr. Gabriele Himmelmann