Okno. De-konstrukcja kryzywej wieży [Window. De-Construction of the Leaning Tower]

Maria Pinińska-Bereś

Okno. De-konstrukcja kryzywej wieży [Window. De-Construction of the Leaning Tower], 199247 x 43 x 9cmSign in to view price
Details
MaterialGallery
wood frame, plywood, textile, foam, glass pane and acrylicThe approach
Description
Human-crafted. AI-refined.

The artwork features a minimalist composition with a predominant use of pink and white colors. The central element is a distorted, amorphous pink shape that appears to be floating within a white, ethereal space. The frame surrounding the composition is a distressed, textured pink that adds depth and a sense of depth to the overall piece. The artistic style suggests a focus on abstraction and the use of simple, geometric forms to convey a sense of emotion and ambiguity. The context of this work may explore themes of fragility, impermanence, or the interplay between positive and negative space. ...

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Maria Pinińska-Bereś
Artist
Maria Pinińska-Bereś
B.1958, Polish

Polish sculptor and performance artist Maria Pinińska-Bereś (1931-1999) played an active role in shaping the artistic community of Kraków. Her sculptures initially followed the modernist trend popular among Polish artists during the Thaw, a period of de-Stalinization in the late 1950s. She gradually transformed her style and developed her own unique aesthetic in the mid-1960s, this is seen in Lady with a Bird (1964), in which she added small quilted blankets to concrete sculptures. Later, this aesthetic incorporated new materials such as paper maché, linen, burlap, leather, and plywood, and primarily used white, pink, and yellow tones, evident in her Corset and Psycho-Small-Furniture series created in the late 1960s and early 1970s. Pinińska-Bereś began exploring femininity and the various cultural oppressions experienced by women in the mid-1960s, these insights and experiences were then translated and embedded into her practice. Her art then predominantly featured pink, soft, stuffed cotton forms, as seen in her work Sea Foam-Arisen (1977), which remained consistent throughout her life. ...

Maria Pinińska-Bereś: Artworks
Laundry II
Sabbath
Dancing woman
Maria Pinińska-Bereś
Dancing woman, 1950
41.5 x 29.3cm
Dream
Untitled
The Banner
Maria Pinińska-Bereś
The Banner, 1980
15.8 x 22.8cm
Women. Sketches for the Corsets
Maria Pinińska-Bereś
Women. Sketches for the Corsets, 1957
29.5 x 41.8cm
Untitled ("Anna, Anna")
Maria Pinińska-Bereś
Untitled ("Anna, Anna"), 1956
41.5 x 29.5cm
Window and Demons II
Maria Pinińska-Bereś
Window and Demons II, 1996
82 x 44 x 11cm
Smudged With the Sky
Maria Pinińska-Bereś
Smudged With the Sky, 1985
135 x 192 x 110cm
I'll Give You a Fern Flower
Maria Pinińska-Bereś
I'll Give You a Fern Flower, 1988
170 x 105 x 48cm
Window in Spring
Maria Pinińska-Bereś
Window in Spring, 1976
145 x 206 x 53cm
Window with Small Clouds
Maria Pinińska-Bereś
Window with Small Clouds, 1990
85 x 45 x 10cm
Untitled [Vintage photograph]
Maria Pinińska-Bereś
Untitled [Vintage photograph], 1979
24 x 25.4cm
Passage Beyond the Quilt
Maria Pinińska-Bereś
Passage Beyond the Quilt, 1979
23.5 x 23.5cm
No Title [Collage, stencil prepared for 'Window with Continuum']
Maria Pinińska-Bereś
No Title [Collage, stencil prepared for 'Window with Continuum'], 1991
32.5 x 22.7cm
No Title [Study for 'Window. De-construction of the Leaning Tower'; collage]
Maria Pinińska-Bereś
No Title [Study for 'Window. De-construction of the Leaning Tower'; collage], 1992
22.8 x 32.5cm
No Title [Collage with a tube-shaped form]
Maria Pinińska-Bereś
No Title [Collage with a tube-shaped form], 1990
32.5 x 22.7cm
Okno. De-konstrukcja kryzywej wieży [Window. De-Construction of the Leaning Tower]
Maria Pinińska-Bereś
Okno. De-konstrukcja kryzywej wieży [Window. De-Construction of the Leaning Tower], 1992
47 x 43 x 9cm
The approach
Gallery
The approach
London

The Approach is co-directed by Jake Miller and Emma Robertson. Located in Bethnal Green above The Approach Tavern, for over twenty years it has operated an internationally recognised programme from its East London base. The gallery is known for discovering artists and establishing their careers as well as making inter-generational curated group shows a strong focus. The list of represented artists includes the Estates of important overlooked female artists Heidi Bucher and Maria Pinińska Bereś, as well as seminal British collage artist John Stezaker, together with established and emerging artists including Magali Reus, Peter Davies, Lisa Oppenheim, Sandra Mujinga, Pam Evelyn, Sara Cwynar, Sam Windett and Caitlin Keogh. Over the years the gallery has operated parallel programmes in additional gallery spaces in London’s West End (The Approach W1) and in Shoreditch (The Reliance). The gallery is currently based solely in its original East End location and continues to expand its programme, showcasing its represented artists in the main gallery space, and both represented and non-represented artists in The Annexe, a smaller, more experimental space at the back of the building. ...

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