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| Bruno Schulz Cuts of His Penis and Hides It in a Hole in th Ground |
Sobczyk has combined the project of painting with the project of language, through seeking new painting syntax, analysing available means, challenging their meaning and establishing new meanings.
He has searched for signs placed in the fields of culture, religion, art, and he has attempted to use them anew, to retrieve the vitality of a sign, to establish its independence. A lot of these attempts have remained unrecorded intuition, unworked premonition. Sobczyk has treated every picture individually, presenting a problem or trying to solve it. He has opened a lot of motives with his intuition, which were later recognized as fundamental for the art of the ‘80s.
In his diploma paintings from 1979 he used a template which would later become one of the stylistic components of the “new painting”. At the same time he visualized the metaphor of the red man – Native American of the ‘80s (“Intschu-tschuna, Nscho-tschi and Winnetou in the Happy Hunting Ground” – 1982; “Old Shatterhand and Winnetou”-1981).
He makes a risky attempt to research totalitarian rhetoric (“The Feature Painting” – 1981), construct the formulas of the political grotesque (“Ganja”- 1981), or analyse the language of religious topoi (“Mary’s Milk and Christ’s Blood” - 1989).
Read part 1 - "An attempt of the whole".
Read part 3 - "An attempt of retrospection"
