Jadwiga Maziarska was a prominent member of the first and second Krakow Group, and she was an elegant white-haired woman who was brimming with ideas and enthusiasm for her work.
Inside his apartment he had created a magical atmosphere with his abstract paintings, some oil on canvas and others encaustic with thick layers of wax, sometimes with whimsical found objects like bottle caps.
In the late 1990s, a time of heated discussions about modern art and its avant-garde tradition intensified by the new political situation, the paintings of Jadwiga Maziarska sometimes they were called unists.
His art is to create organic structures inspired by the real world and real objects built by human hands from the goods provided by nature. The resulting image is the effect of a moment of revelation experienced by the artist.
The feminine sensibility manifested precisely in this intuitive approach to the creative process distinguishes Maziarska as an artist in the world of art. constructivist art dominated by phallocentrism.
His works sometimes resemble enlarged biological slides that are prototypes of a living organism.
The paintings he created were often characterized by spatiality and multidimensionality, the result of applying many layers of paint to the canvas, the fabric of which was often modified by the introduction of original imposts, thickenings, or gouges.
The artist, born in 1913 in Sosnowiec, died in 2003 in Krakow, she experienced in herself the visible ambiguity that contained all the traces of a significant break in the structure of Maziarska's painting, although he perceived the throbbing scar on the surface as something different.
In an interview, when asked about the important issue behind his stearin reliefs, he said it was "the internal energy of matter detected in psychological space and confronted with the material nature of the substance."
He added that they were "not imitations of anything real, although it could be said that the cracks, as shown in the paintings of the time, represented the structure of the original matter or some tremor similar to reality."
It is no coincidence that this reference, anything but unequivocal, would open up a whole range of synonyms such as vibrate, oscillate, emerge, approach and move away, possess and exclude.
In this way, Maziarska's works would go beyond the object-proprietary optical visuality, also including what is difficult to capture in a glance but exists in it like the aura of Benjamin in "works of art in the age of mechanical reproduction ", or better still, according to the author's terminology, what lies below the optical unconsciousness.
The Maziarska biomorphism has a cosmic dimension; it was a search for biosynthesis. She overcame individual carnality, and as so often in modernism, she traversed the universe with the spirituality of her mind to confirm the dualism of existence with a sense of victory that contains estrangement and catastrophe.
Contrary to the partially experienced reality, it was the utopia of the totality, available in "one look", in the artistic intuition and the gift of epiphany.
