Bogdan Skorkowski

One can tell en eminent artist by their creative interest being situated in the realm of absolute himian values, and an innovative approach to them. Such an artist is recognisabłe by their techniąue and? above all, the talent, the richness of personality, of the creative output and commitment to art Do Aneta Jaźwinska's paintings and her entire output comprising ceramic sculptures, stage designs and also posters - give grounds for concluding that the young artist has the bearings of an extraordinary artistic personality?

My answer is positive. Her excellence is nothing short of astounding. Each ease of excellence is astounding; there arę no two ways about it. The enchantment with her art is so strong as to be bewitching. It is that typical, even semi-subconscious first sensation in the face of Art with stress on capital "A". And, such is this first overwhelming sensation felt once the onlooker gets to realise the type of impression that is evoked in the initial contact with Jaźwióska's art.
In a more in-depth analysis, the artisfs work strikes with a perfect positioning of the perspective and the structuring of 'depth/ tfie treatment of light and shade, followed by composition, all rendered impeccably. The finesse and precision of the contour combined with accurate accentuation permeates each piece. Yet, the most charming facet of her work is the colours. Next to the dramatic aspect, Jaźwińska's paintings arę dominated by the mood: moving? not always cheerfiil, not infreąuently very sad, the mood is always conjured by the contour and the colour ("Spojrzenie na stawy"[Glancing at the Ponds], "Modrzewie" [Larch Trees], "Kościół Św. Jakuba w Szczyrku" [St. Jacob's Church in Szczyrk]).
Hers arę wonderful colours, surprisingly disparate, yet concerted, beautifolly shaded or as if slapped onto the canvas: this is when the painting is sniitten by colour that adds the violent drama to it. This, in turn, spurs and ineredible whiriwind of expectations of some surprising events ("Majowa Łąka" [Meadow in May])? and vividly evokes a Van Gogh who - pardon the assertion - seems somewhat primitive and incomplete in comparison, or a Michałowski who, in tum, lacks Jaźwińska's characteristic impetus.
When set against the deadliness of contemporary compositions, those slick and contrived conundrums, products of accidental observation striving in their futile attempts to - possibly - convey a forced niessage, or painted photographs, Jaźwińska's works sing and shout, teem with life, shin with richness, multi-dimensionality and momentum. When I lose myself in her oeuwe, I can almost feel the earth ąuake and open beneath the feet ("Majowa Łąka"). In other instances, her work oozes warmth, sunshine, privacy, colours and the scent of flowers ("Dzikie pnącze" [Climber], "W cienu drzew" [Shaded by Trees]). This is all about an ineredible play of elements, an extraordinary creative power, pure and unbridled creative energy and talent.
Critique to date has said little about the drama contained in her wotks. In my personal view, it is not so much the artisfs enchantment with wildlife as her mental urge to flee towards that directly spurs her current landscape-themed work, hence her amazing devotion to the theme, which probably accounts for such strong dramatisation in the composition and arrangement of colours. These novel and genuine ąualities set her apart from her peers.
In her output, Aneta Jaźwińska touches on fundamental values and issues such as life and death, e.g. in "Przemijanie" [Transitoriness], a gripping, sullen painting. It does contain the apotheosis of life and wealth that almost seem to overflow the canvases. The breeds love in itself; she creates an atmosphere of love in which all love may be born. How immense must her longing for love be... Her sculptures (female heads) testify to her love of mań, the infatuation with the aim of man's presence on this Earth, as seen in her output with religious overtones.

In summary, when speaking about this artist who is rapidly developing, as if obscured by her enormous talent, I find that we arę dealing with a true and genuine grandness in the world of art, particułarly in painting and - dare I say - on a global scale.

Bogdan Skorkowski