Magdalena Abakanowicz was born in an aristocratic Polish-Russian family on her parent’s estate in Poland. The war broke out when she was nine years old. Then came the revolution imposed by Russia and the forty-five years of Soviet domination.
Poland was a politically volatile country where instability was a permanent state.
She has learned to escape to her corner, to make the best of things, to use whatever was viable and even to make gigantic works in a tiny studio.
Magdalena Abakanowicz for many years has dealt with the issue of "the countless".
She says: "I feel overwhelmed by quantity where counting no longer makes sense. By unrepeatability within such quantity. A crowd of people or birds, insect or leaves, is a mysterious assemblage of variants of a certain prototype, a riddle of nature abhorrent to exact repetition or inability to produce it, just as a human hand can not repeat its own gesture".
Her art has always addressed the problems of dignity and courage. This dignity resistance and will of survival conceal her individual personal affinities to the culture of Poland, the country where she has grown up, to this country’s political situation, and to the realities of existence of an artist, an intellectual.
Abakanowicz creates ambiguous images with many sizes, shapes and meanings.
Her art has always addressed the problems of dignity and courage. This dignity resistance and will of survival conceal her individual personal affinities to the culture of Poland, the country where she has grown up, to this country’s political situation, and to the realities of existence of an artist, an intellectual.
Abakanowicz creates ambiguous images with many sizes, shapes and meanings.
LINK: Magdalena Abakanowicz
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