Here are some photos after a couple of days.

TWO – THE ONE FOR ME

Under heaven all can see beauty as beauty only because there is ugliness.
All can know the good as the good only because there is the bad.

Therefore creating and not creating arise together;
Dark and light complement each other;
Large and small contrast each other;
Realistic and abstract follow one another;
Colour and structure harmonize each other.

Therefore the artist goes about feeling and seeing not judging
Creating not reproducing
The ten thousand artworks rise and fall without finish,
Making, yet not possessing,
Working, yet not taking credit.
Art is done, then forgotten.
Therefore it lasts forever.

Based on Two from Tao Te Ching, by Lao Tsu

As the winter-night falls over Devon by Kasia Turajczyk

Metropolis and its heart, acrylics on canvas; 90cm x 90cm

I have been thinking for a long time about what constitutes the heart of the big city. What could it be? The technology and the evolutionary progress and development in the education of homo sapiens? Or our nature, the fact that we are sociable, a social and collective animal? However this is inconsistent with the reality – people who live in a small village or town are more sociable and less anonymous than those who live in big molochs. Living in a big city makes us 100% nameless, more private and more secret.

Our planet, our Earth can exist without us, maybe better than with us. But what about the Metropolis? Metropolis is a human creation. Without homo sapiens there will be no Metropolis. After 100 years, maybe even less than that, the Metropolis will be trash, in ruins, a great source for fantasy art paintings and illustrations.

The Metropolis is such a big thing and the order within it is not constrained during its development to repeat the things that exist in one part in any other part. Even if we reflect that the big cities were made by and for people, some order exists in it without our knowledge. There is also a lot of order in the creation of Metropolis which we humans have put there, like a string in a maze, so that we shall not lose our way. However the living system that is Metropolis has its own order, but the brain is separated from the heart. This amazing, ill and degenerate body, also beautifully ruthless and always sleepless, can’t exist without us humans. Therefore the heart of the Metropolis is us – PEOPLE.

If you see the painting in the flesh you can spot lots of creatures inside the central part of the work, and also lots of small creatures all around the suburbs. We are the heart!

I remember as a child, I had to attend Sunday masses. I didn’t like them; it was for me a kind of torment, literally and metaphorically.  Probably I was very afraid to be confronted again and again, by the fearful personifications of God presented by the clerics. I was terrified to be punished for all the sins that I hadn’t committed yet, but would in the future. There was no escape from that. Even the angels had a kind of apocalyptic dimension. When lying in bed, I often thought about my “personal” Angel. I had no doubt about the fact that somewhere an Angel was watching me. I had one big problem. I wasn’t sure if it was a good Angel or a bad one. Maybe it was a hellish one and not a holy one.  I had a picture of an angel hanging above my bed. He was beautiful, with blue eyes and white hair and a very, very distressing smile. And so it was that my Angel was gazing at me, as if he knew that one day I would betray him and leave him. When at the age of 12 I had rebelled and had declared  that “I don’t want to believe and I categorically deny any belief in such a cruel, evil, bad god  and I do not want to be frightened any more of hell, devils and original sin” I had terrible dreams for the first months afterwards. In my dreams I was somewhere close to the church. It was a big Gothic church, and it was always night. I was attacked by devils, they tore me, hurt me; wild winds had jerked me into the square in front of the church, darkness and a terrible fear occupied my dreams.  That was a horrible experience,  a nightmare, but even more it cemented my decision that God, who is haunting me,  punishing me, and scaring me, will not be my god.
And so it happened, that I became somehow atheist, somewhat Buddhist, a follower of my personal faith; all together my religion is a kind of eclecticism.

Since that time I have been trying to avoid that hell on earth, in my daily life, in my relationships with others, but also in my thoughts and feelings. Hell and Heaven, we create them for ourselves, here on this planet, in our lives, our thoughts, feelings, beliefs, hatreds, and in relationships.
Hell and Heaven are also created for us by nature, life, and the condition of being homo sapiens, something that is unavoidable; we can only accept it.

After this very long introduction it is time for introducing my new painting.

This is an installation composed of four panels, titled “Heaven Is In My Mind”. It belongs to the “My Brain” series.
There is a lot of blue, gold, purple, dark plum, grains of all sorts, and recycled stuff.
It is large: 80 cm x 80 cm.

The story of mouse, thatched cottage and Dunchideock by Kasia Turajczyk

A mouse (plural mice) is a small mammal belonging to the order of rodents. The best known mouse is of course the common house mouse. But in a case of Lyalls Cottage, the common species are the field mice. They have stood with us in the autumn and winter time and they are visiting us on regular bases every day in the spring, at the moment. Our mice are very keen on expensive chocolate. They also like very much my paintings, especially the ones which contain seeds. Often they are very timid face to face, but not always.
Since mice could be a perfect companion pets I don’t understand why some are so afraid for them. They can be playful, loving and can grow used to being handled. But I admit I didn’t try it with our field mice, no time for it.

The mice have more reasons to be afraid of people than vice versa. Mice are a staple in the diet of many small carnivores. Humans have eaten mice since prehistoric times and still eat them as a delicacy throughout eastern Zambia and northern Malawi. In various countries mice are used as pet food for pets such as snakes, lizards, frogs, tarantulas and birds of prey, and many pet stores carry mice for this purpose. I didn’t hear real stories about mice eating people, till now.

I don’t like them when they are trying to damage my paintings by eating them, but except for that, I like them, actually. In my new painting there is a small image of a field mouse we found in our bath-tub. It was such a small, tiny, frightened little thing. And now she/he is the honourable guest in my painting.
I used acrylics, cd, leaves, seeds, canes, wax and lots of other unusual things. It is a kind of abstract image of Lyalls Cottage and Dunchideock (the village) at this time of the year (Spring).

It is really fun to use old CDs, seeds, some recycled materials and combine them with acrylics. The limited space on the old CD’s and the same form all the time forces me to be very creative with the colours and to think in a different way than usual when I am using canvas.

I can make 100 absolutely different CDeens (a new word for painted CD’s) and then from the 100 small pieces of CDeens I can create lots of new art works. Vertical, horizontal, round, square – the bases could be very diverse.

Who is who? 48 cm x 12 cm on wooden panel

What do you think about this idea of using old CD’s to create an artwork?

Poem by James Mercer Langston Hughes

I’m looking for a house
somewhere in this world
Where white shadows
Will not fall.

There is no such house
Dark brother
No such house
At all.

My pages can be viewed at: http://contemporary masters pages 60/61.

PRESS RELEASE

New Art Book Celebrates the Work of Modern Artists from Around the World
With no real center to today’s art world, the February release of WorldWide ArtBooks’ (WWAB) Annual International Contemporary Masters Volume III shows that innovation in art is still thriving in many, perhaps unexpected, corners of the globe. The book, produced by international curator, Despina Tunberg, traces the latest trends of today’s art, by featuring the works of select artists from around the world, who are helping shape the evolution of modern art.
“As a gallery owner in both Europe and the United States, I’ve seen how artists of varied esteem can spend time struggling to show their art, when what they really want to focus on is creating it,” said Tunberg, who founded World Wide ArtBooks in 2004. “I created International Contemporary Masters as a luxury art publication that would serve as a tool through which artists can introduce their work to the public and the art world alike. The book also brings lesser-known artists of high caliber to the public eye.”
International Contemporary Masters Volume III features more than 230 artists from nearly 50 countries and nearly 400 works of art. Each artist was selected by a committee according to strict criteria of originality and proficiency. The history of the artist was not so important, as WWAB’s editors were looking for artists breaking new ground, who’s names may not yet have been discovered. Media presented in the book includes painting, mixed media, sculpture, photography, digital art and installation.
In addition to producing the book itself, Tunberg offers featured artists support by organizing exhibitions to show their latest works. On February 29, WWAB and the Southern Nevada Museum of Fine Arts are presenting the first of three shows in Las Vegas, NV displaying the work of artists from 21 countries, who appeared in the 2008 & 2009 editions of International Contemporary Masters.

http://www.wwab.us