Przemek Pyszczek uses his bold, geometric work as a site for self-discovery of the Polish identity he didn’t fully realize while living in Canada. His recent exhibition shown in Belenius (Stockholm), Hyperlocal, is a testament to this self-discovery in his use of motifs and materials inspired by his new home in the small, secluded village of Drzeniów. The exhibition is on view until July 7 and features both large, industrialized looking laminate wood reliefs and small, rustic wooden sculptures.
Your work is characterized by the use of bright colour, natural materials (mostly sourced from your home country, Poland), and even playfulness. What treats would you say characterize you as a person?
I don’t know if they characterize me as a person, but I love cheesecake, ice cream, chocolate bars, cookies, cakes, and everything sweet basically! If I could have sweets for every meal, I would.
Belenius gallery in Stockholm is representing your new exhibition, Hyperlocal, which consists of a combination of small raw wood and large laminated wood sculptures derived from Drzeniów’s (Poland) large forest wood industry. Is this locally sourced material important to the work itself? Do you usually select the material for your sculptures with conveying an overall meaning in mind?
With the works in Hyperlocal, I wasn’t trying to merely convey a shape or form that I’ve observed locally, but I wanted to work with local materials as a way of exploring my new context – meeting people, sourcing materials, discovering local manufacturing processes, etc. I was also interested in exploring ways of being less wasteful as an artist. Using wood that originated near me seemed like a good start. I try to have intention in every decision I make, and then leaving it to gut instinct when it comes to things such as composition. With materials, I always try to keep in mind what is being signified with a certain choice.
You bought an old school in a small village in Poland called Drzeniów and moved there in 2018. Did you do this specifically in order to seek artistic inspiration?
After living in Berlin for seven years, I felt like I needed a change in my life. I had always lived in a city and was curious about living in the countryside. This was a personal desire but I think it was also about a need for new artistic inspiration and mental space to create. I also wanted to take on a long-term project – such as renovating a house – in order to have a place to always call home.
Your 2018 exhibition Białystok was also heavily influenced by Poland’s landscape. Have you always gleaned ideas from your Polish roots?
After moving to Berlin, the exploration of the physical and social landscape of Poland has been my biggest interest. I was born in Poland but grew up in Canada, so I wanted to learn more about this place that shaped my identity but never fully experienced.
In Białystok, you used colour to represent the explosion of vibrancy and individuality that followed the collapse of the communist state in Poland, and likewise, Hyperlocal shares a similar hue. How do you select your colour pairings? Is it always based on observation?
The colours I use are based on observation and memory. I reference specific arrangements in some works, and in others, create compositions using the palettes I have observed.
After dabbling in painting, architecture and sculpture, which of the disciplines would you say is your preferred medium and why?
I prefer to express myself as a visual artist, so that can take on many forms. I generally merge sculpture and painting in my work and see them as existing on a continuum.
Your father worked in construction. Would you say that this influenced your acute observation of building structures and façades?
I don't think it influenced my observation specifically, but he gave me a ‘can do’ attitude. If I have an idea, I always try to figure out a way to make it happen. It's more important to try something and not have it perfect than not trying at all because you're scared of failing.
Who would you say are your biggest artistic inspirations?
Observing the physical world around me is my biggest inspiration. I also find a lot of inspiration in reading about history and viewing archival imagery and videos on the Internet.
What is your favourite collection of work that you’ve created thus far?
I can’t pick a favourite because that’s like picking a favourite child. But I love making the Facade works because it feels like an open universe I’ve created that can keep expanding.
Tell us more about your future plans. Are you currently working on more exhibitions or projects?
I’m currently working on future gallery exhibitions and public sculpture projects, so hopefully, I can share those with you soon.
