Back in 2006, Warsaw’s National Gallery of Art, Zachęta, held a group exhibition titled “Polish Painting of the 21st Century.” Painter Leon Tarasewicz contributed a site-specific work to the 60-artist exhibition, redoing the museum’s Great Hall in a bath of red, yellow, blue, and green splatter paint. The work splattered the stairs and crept up the surrounding walls, creating a dramatic entrance for anyone entering the exhibition. (via ArchAtlas which was inexplicably deleted by Tumblr last week?)
Leon Tarasewicz is one of the most intriguing contemporary painters in Poland. He was born in 1957 in Waliły in the Podlachia region. Tarasewicz is an inventive artist who constantly explores new aspects of the old and seemingly predictable discipline of painting.
He studied at the Warsaw Academy of Fine Arts under Tadeusz Dominik, graduating in 1984. He has run a painting workshop at his alma mater since 1996.
He was noticed immediately after leaving the academy, as his paintings stood out from the “new expression” style which prevailed among his contemporaries. He was already then convinced that “a canvas […] should always defend itself with painting and painting alone” and not any with added meaning or artistically strange code. Ever since his debut, he has been a prominent member of the art scene, even though he identifies the centre of his world as the small village of Waliły near Białystok. He emphasizes his Belarusian provenance, and identifies with the Belarusian minority inhabiting eastern Poland. He has acted as a spokesman for that minority on many occasions and has supported initiatives reviving Belarusian culture. In 1999, he did not accept the Art Award of the President of Białystok in a protest against the local authorities’ policies, which, in his opinion, were stoking the conflict between Polish and Belarusian communities.
Story via this is Colossal