Page 87 - The Venice Biennale 2001 issue of World of Art Magazine

ART in AusTRALiA

beaks, eves, split circles
and triangles are arranged
in a myriad of patterns to
be interpreted differently in
each composition by every
viewer.
In both the large and small
format, Szydlowski creates
exuberant images of visual
interplay between figure
and ground. He respects
the surface of his paintings
by employing vibrant colors
and patterns of interest.
Black line is used to draw
sufficient information
suggestive of one object
then moves on to hint at
another, before the first is ABoVE: mAgic bRiDge in The hOT ciTy
secured in the mind. And 1999 oIl on cAnVAS
figures are based on pup- 94,5 x 150 cM, 37¼ x 59 In.
pets, those inanimate forms
that are enlivened only by
an individual infusing them lEfT PAgE: LunATic fROm The fOReign fieLD
with their own identity. 1999 oIl on cAnVAS
With all this Szvdlowski is 100 x 75 cM, 39½ x 29½ In.
able to hold the door to the
imagination ~vide open so
we easily go from the real BEloW: LAnDscApe WiTh The ReD hOuse AnD The gReen meADOW
to the surreal and back. 1999 oIl on cAnVAS
Here one painting provides 75 x 100 cM, 29½ x 39½ In.
a multitude of images for
the viewer. Each composi-
tion can be read differently
every time we view it as
we re-interpret the parts
to read as a new whole.
For example on my initial
approach to Lunatics From
The World 0f My Imagina-
tion I found a Harlequin, a
man chewing on a piece of
straw, and other wonders
while on the second view-
ing of the same painting
there was a chicken, fish
swimming in a field of
blue-green grass, and the
roof of my neighbor’s
house.
Get to this exhibition and
let your imagination go
on a carefree ride through
Szydlowski’s serendipity
all the while knowing it is
artistically secure.