§ ADRIAN WISZNIEWSKI (SCOTTISH B.1958) IF IN DOUBT
Neon and perspex (Dimensions: 61cm x 91cm (24in x 36in))
(61cm x 91cm (24in x 36in))
Footnote: Provenance: 'Adrian Wiszniewski: The Studio Sale,' Lyon & Turnbull, August 2010. Exhibited: Fruitmarket Gallery, Edinburgh, 'Adrian Wiszniewski Retrospective - New Work' - 1990, Talbot Rice Gallery, Edinburgh University, Edinburgh Festival - 1996, Galerie Fortlaan 17, Ghent, Belgium - 1996, 't Elzenveld Sint-Jorispond, Antwerp - 1997. Note: Wiszniewski started using neon in 1989 as an antidote to his heavily worked canvases and as a very direct means of communicating to a new audience. Duncan Miller comments in his introduction to William Hardie's 1994 exhibition : 'Neon signs are composed of colour and line, the two most basic elements of the language of western painting. In Wiszniewski's neon works colour and line are as completely alive as in any painting, yet they are freed from the burden of artistic 'self-expression' by the way they are reduced to mechanical form. Works like these are a new, technological version of that idealism which links Matisse's paper cut-outs to the neo-classical tradition.'
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Neon and perspex (Dimensions: 61cm x 91cm (24in x 36in))
(61cm x 91cm (24in x 36in))
Footnote: Provenance: 'Adrian Wiszniewski: The Studio Sale,' Lyon & Turnbull, August 2010. Exhibited: Fruitmarket Gallery, Edinburgh, 'Adrian Wiszniewski Retrospective - New Work' - 1990, Talbot Rice Gallery, Edinburgh University, Edinburgh Festival - 1996, Galerie Fortlaan 17, Ghent, Belgium - 1996, 't Elzenveld Sint-Jorispond, Antwerp - 1997. Note: Wiszniewski started using neon in 1989 as an antidote to his heavily worked canvases and as a very direct means of communicating to a new audience. Duncan Miller comments in his introduction to William Hardie's 1994 exhibition : 'Neon signs are composed of colour and line, the two most basic elements of the language of western painting. In Wiszniewski's neon works colour and line are as completely alive as in any painting, yet they are freed from the burden of artistic 'self-expression' by the way they are reduced to mechanical form. Works like these are a new, technological version of that idealism which links Matisse's paper cut-outs to the neo-classical tradition.'
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