Władysław Hasior
Poetic Meanings of Utilitarian Objects
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To the Memory of the Children of the Zamosz Region 1944
Source of visual: Tatras Museum |
Character Embroidering, 1974
Source of visual: Tatras Museum |
The Azure Trio
Source of visual: Rynek Sztuki |
Commentary: "He asked his students to bring him old frames, pieces of mirrors, rags, junk, pieces of garments - the materials of his first assemblages. Barbara and Tadeusz Brzozowski dropped off, after moving, their old cooking pots. From Anna Micinska he go the twins' pram, their baby shoes, teddy bears and dolls, a coat lining (he utilized everything) He was overjoyed by surgical tendon forceps, he got from Andrzej Osek, that ended with a serpentine jaw. His apartment-workroom became overgrown with weird objects. Some were shocked, other laughed: a rag and bone man, he collects his artworks in garbage dumps.
"But this type of activity exists from the beginning of time - Hasior said years later on the Portrait television show - and it results from the need to give things and objects a meaning that is different from their daily, utilitarian one. [...] Just as in folk tales flying carpets, seven league boots, caps which rendered the wearer invisible have magical functions, so there is also the chance among the silent, attending objects, that someone - an artist, will pick the item up and mobilize the sphere of poetical meanings it encompasses."
(Quotes from Magdalena Grochowska's 1999 Gazeta Wyborcza article. tran.: Peter K. Gessner)
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"I regard artistic activity as a provocation: intellectual, creative."
"I use materials that have meaning, suggest. Every object has its sense, and combined present aphorisms."
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