This article is an attempt to define the ambiguous specificity of artistic deflation in the sculpture of the Wroclavian artist Leon Podsiadły. At the outset, the author describes the principle of deflationist art and proposes a method of approach. She then discusses the “imperfections” within Podsiadły’s sculpture, the main manifestations of which include the use of common materials and mundane objects, secondary anti-mastery, and dememorization. These features coexist with well-thought-out composition, the inventiveness of the choice-making artist, and the creative fascination of unconventional artistic qualities, to which deflationist unlearning adds a unique slant. Seen from this perspective, Podsiadły’s deflationist caprice persuasively affirms the elasticity of the oscillation between the optics of modernism and postmodernism that defines his art. This oscillation can be seen, for instance, in those among his sculptures that were inspired by his stay in Africa in 1960s; in his “erotic” compositions; and in his installations of the 2010s in which he used the ready made. His “reductive” artistic experiments testify to a need for ironic distance; they individually gravitate toward the transgressive avant-garde and at the same time respond to the current trend of deskilling in art.
Source: Tomczak K. (2021) Deflationist Caprice: “Imperfections” in the Sculpture of Leon Podsiadły. Arts. 10(2): 39
Source web-site: https://www.mdpi.com/2076-0752/10/2/39
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