FURTKA DO ŚWIATA DUCHA
FURTKA DO ŚWIATA DUCHA

O splocie obrazu i słowa w twórczości Macieja Bieniasza

Summary/Abstract: The article considers such important contemporary problems as the role of mimicry and mysticism in art, the participation of intuition in the creative process, and the accuracy of interpretation. Starting from the discussion on objectivity in painting, activating the neuroscientifi c context, the author presents the work of Maciej Bieniasz, focusing on selected episodes in the artist’s oeuvre which are located on the border between words and images, such as paintings inspired by Jacek Kaczmarski’s songs and by the novels Master and Margaret by Mikhail Bulgakov and Cancer Ward by Aleksandr Solzhenitsyn. The object of analysis is images in which literary passion, musical ear and multi-sensory repertoire are important artistic means. Bieniasz’s paintings lead to the verifi cation of research methods; it turns out that the semiotics of art and actions on sets of signs do not lead to appropriate conclusions, and the hermeneutic story and plunging into the space of conjecture prove to be similarly ineffective. In relation to Bieniasz’s works, it is important to “return to things in themselves,” which means sharpening the perception by the phenomenological approach and using the biographical method (the author uses the artist’s notes, as well as information from an interview with the artist and from the artist’s letters). The phenomenological method reveals the space of the spirit encoded in Bieniasz’s paintings. It is a space where the uncontrolled act of experiencing and the freedom of cultural associations are combined with an extensive palette of emotions and the depth of intuitive recognition. In the world of the concrete, as suggested by Nikolai Berdyaev, there is a universal meaning, and immersion in the world of passion (the artist cannot be ‘cold’) no longer has its old romantic envelope and may become the axis of a new aesthetic attitude.

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