In the process of discovering myself, I have revealed some strong psychological figures (inner child, feminine side, tyrannical side, contemporary side). I noticed that some paths went entirely differently when designing or thinking about new works. For example, the process of creating oil paintings was utterly different from the process of creating sculptures. The process of creating sculptures also differed from the design of bas-reliefs. I asked myself why the sculptures appeared in my head without much effort and why I feel completely different when I think about paintings and bas-reliefs. Now I am convinced that there are different psychological sides to me. When I’im designing sculptures, I do it from the female side (Feminine Side). In my sculptures, you can feel a lot of emotion, expression, grace, and emotional awareness. I noticed that my reliefs are being made on the Tyrannical side. You can see in the "brutalism" angular, sharp shapes and a monochrome palette of colors. I have known for a long time that there is an extremely childlike side to me. One of the most critical moments in my artistic process was when I started to paint with only my left hand. This process consumed me. I was in a trance. I forgot about time and barriers literally as a child. It was and still is a powerful experience. I have unknowingly tried to include all my sites in oil paintings (contemporary side). I tried to convey a political and social message, a childlike character, emotions, a certain style, etc. However, from now on, I will explore individual projects as separate psychological sides/figures. I will not force them together. I will allow them to create as separate entities. It is one of the most important discoveries in my artistic career so far.
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ARTCOLLECTORNEWS: Please tell us a bit about yourself and your artwork.
My name is Igor Dobrowolski. In the process of discovering myself, I have revealed some strong psychological figures (inner child, feminine side, tyrannical side, contemporary side).
I noticed that some paths went entirely differently when designing or considering new works. For example, the process of creating oil paintings was utterly different from the process of creating sculptures.
The process of creating sculptures also differed from the design of bas-reliefs. I asked myself why the sculptures appeared in my head without much effort and why I feel completely different when I think about paintings and bas-reliefs.
Now I am convinced that there are different psychological sides to me.
When I'm designing sculptures, I do it from the female side (Feminine Side). In my sculptures, you can feel emotion, expression, grace, and emotional awareness.
I noticed that my reliefs are being made on the Tyrannical side. You can see in the "brutalism" angular, sharp shapes and a monochrome palette of colors.
-min.jpg)
I have known for a long time that there is an extremely childlike side to me. One of the most critical moments in my artistic process was when I started to paint with only my left hand. I was in a trance. I forgot about time and barriers.
I have unknowingly tried to include all my sites in oil paintings (contemporary side). I tried to convey a political and social message, a childlike character, emotions, a particular style, etc. However, from now on, I will explore individual projects as separate psychological sides/figures. I will not force them together. I will allow them to create as separate entities.
It is one of the most important discoveries in my artistic career so far.
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ARTCOLLECTORNEWS: How has your background shaped your artistic practice?
I started with designing women's high heels, bags, and jewelry; it significantly impacted the beginning of my artistic path.
ARTCOLLECTORNEWS: How has your creative process changed over the years?
My process evolved intensively from oil paintings, street art that talked about social problems, bas-relief, abstract paintings painted with the left hand,, and large-scale bronze sculpture.
ARTCOLLECTORNEWS: How has your artwork evolved since you first started making art?
Heh. When I was a child, I created, and later, I tried to regain this childlike ease and I'm on the right track, so I don't know if I've evolved since I was a kid, but I'm happy with it.
ARTCOLLECTORNEWS: What inspired you to become an artist?
Like every child, I have always needed to create and be creative. Fortunately, adulthood did not take away this need from me. Unfortunately, our system is ruthless and takes away people's creativity in a terrible way. I didn't give up, but I was fortunate to receive a lot of support from people close to me, which is huge and I don't think I deserve it. How do Isay it... I put a lot of work into what I do but help and mental support is invaluable lots of people don't have it, but I did, and I'm grateful for it.
ARTCOLLECTORNEWS: Are there any particular artists or movements that have greatly influenced your work? In what way?
I think I have been inspired for years by dissidents and activists such as Cornel West, Noam Chomsky, Ai Weiwei, and, let's say, nameless people who have character and integrity and sacrificed a lot for others who were tested by time. Time will tell if what I believe in will stand the test. Great forces are acting on us, and it takes a lot of strength, character, and integrity not to break.
ARTCOLLECTORNEWS: What has been the most rewarding part of your career as a studio artist?
There have been some great moments in my career. One of them was my street art campaign, "Christmas in Yemen," which inspired one amazing girl. She created a fundraiser for children who are affected by the biggest humanitarian crisis of the 21st century, which is currently in Yemen. Unfortunately, the war in Yemen continues, but it is not a hot topic in Western media.
ARTCOLLECTORNEWS: Could you tell us about your latest body of work?
The latest body of work consists of large-scale bronze sculptures that are a reflection of my feminine side; also a collection of paintings called "Wrinkled Dreams" that focus on class issues, where I show people in difficult life situations combined with paintings made with my child side (left hand). I think one thing that, in a pretty blunt way, they show is the problem of the lack of help for the poorest children who end up on the street as invisible older people.
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ARTCOLLECTORNEWS: Do you have any upcoming exhibitions or projects that you are excited about?
Yes, it is taking place In Taiwan 28.03 - 28.5 with a team of amazing girls from Gin Huang Gallery and Berlin 21.04 - 10.06 from the G-allery gallery, with which we have recently started working.
ARTCOLLECTORNEWS: Describe your process of creating a new artwork from concept to completion.
Very often ideas appear in my head when I listen to music and move my body, be it on a bike, dancing, in a car, or during some kind of movement.
ARTCOLLECTORNEWS: What is your favourite medium to work with? Please tell us a bit about how the medium influences or supports the ideas behind your work.
I don't have a favorite medium, but I must say that I'm more and more drawn to natural materials that are pleasant to the touch, maybe because I subconsciously feel that raw materials and human touch are less and less important. Even for me, they started to be less important, and I didn't want that.
ARTCOLLECTORNEWS: Are there any techniques you have developed that you use consistently in your artwork?
I create several author's techniques, for example, in the creation of bas-reliefs.
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ARTCOLLECTORNEWS: What themes or topics are you exploring in your current artwork?
Now I am exploring my feminine side in sculpture; this side I feel most naturally in three-dimensional forms, and ideas very easily appear in me.
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ARTCOLLECTORNEWS: Are there any particular projects or themes you would like to explore in the future?
I'm now in the process of visualization of large-scale art installations with mixed media, I haven't started the physical construction yet, but the ideas are getting clearer and clearer.
ARTCOLLECTORNEWS: What do you think is the most important skill a studio artist should have?
I can't comment on the artists. As far as I'm concerned, it's important for me to be flexible but not to break, to keep my spine.
ARTCOLLECTORNEWS: What do you think has been the biggest challenge in your creative career?
I think you will achieve financial stability while maintaining character and integrity; heh, capitalism is brutal. Well, you know, if you start without money as an artist, often the dynamic is that the artist creates works, experiments refine his skills while trying to make ends meet, suddenly some gallery takes him/ her under gallery wins, the artist starts selling works, the gallery is happy artist is happy collectors are happy the money comes in, the artist is faced with a choice whether to create new works that are exploring new themes than before or stay in the lane and sell the same works or variation of them. The changes are uncertain. I know that's an oversimplification, but you get the point.
ARTCOLLECTORNEWS: What advice would you give to aspiring studio artists?
I don't advise people I don't know. You must be careful about taking advice from people who don't know you.
April arrives with the melodious chirping of birds, stirring excitement for the summer holidays already planned, and Venice gearing up for its biennial extravaganza. Devoting just a monthly recommendation to this would be sacrilege. Instead, let's focus on a feast sweeping across Europe this month and lasting until September, offering a plethora of orgasmic exhibitions.
With less than a week until the press reviews and a 10-day countdown to the inauguration of the 2024 Biennale,the art world's spotlight converges on Adriano Pedrosa and the 332 artists poised to define the contemporary art landscape at the Giardini and the Arsenale. With a keen eye for capturing the essence of our times, Pedrosa's curated exhibition for the 60th iteration of this prestigious event is a testament to the global currents of migration and the vibrant tapestry of queer and indigenous voices.
"An artwork must resonate with me on a personal level; it's essential that I can perceive the narrative woven into every piece I consider. I listen for the artist's voice in their work, sensing the pulse of their passion. There must be that moment—a kind of heartbeat—when I first lay eyes on a piece. If that heartbeat isn’t there, if the work doesn't stir something within me, I simply can't bring myself to add it to my collection."