Things I do in culture or so-called art.
AI Revolution 101
AI Revolution 101 aims to condense knowledge on Artificial Intelligence topic. This project is an adaptation and major shortening of the two–part essay AI Revolution by Tim Urban & Wait But Why. I worked on creating a version that holds all the most important ideas, while radically cutting the length. I reconsidered every sentence to distill the essay to the form that is maximally compact, impactful and easy to understand. I recreated all the images, shortened it x3 and added a couple of new perspectives. Find the essay here or read more on why/how I wrote it here.
How Art Works
'HOW ART WORKS? - a serious movie about problems and solutions' is a self explanatory video about culture, art world and metaphysics that become viral on the art corner of the Internet. Co-created with Tymek Borowski.
Internet Art and Billy Gallery
Billy Gallery is an Internet art gallery that I ran. Billy Gallery have created numerous of Internet projects, exhibitions and events.
Here are some memes, gifs, image–macros that I have been creating ever since. To see more visit pawsys.tumblr.com
An installation composed of many elements in which the various material manifestations of human activity have been reduced to a dimension of pure aesthetics. Each element of the composition is an independent metaphor, but as a whole, this work is an attempt to portray the evolution of man on the basis of the increasing amount of ways that people try to detache themselves from their surroundings. We do this by using clothing, headphones, curtains, or even eyeglasses and shower cabins. The more evolved we become, the more we separate from one another, and the history of mankind is the story of growing isolation. Man also attempts – with tongue in cheek – to make a comprehensive historical treatment of the human condition. The white, center pedestal is the same height as Modulor, and placed upon him are six commandments - those concerning human rights. It is also an effort to establish a dialogue with the utopia of modernity: the materials used are cheap and available at any hardware store. Well aligned, they gain a noble, almost sacred character. This exact moment rings out the uncertain nature of Sysiak’s work: idealistic and bitter at the same time.
Text and Interview by Jakub Banasiak
Paweł Sysiak produces a completely unique language of artistic expression. Virtually every one of his pieces possess a distinct genesis and structure: they are born out of the results of mulling over a specific problem and are mounted upon specially chosen foundations. Therefore, in this case, the most important thing would be to speak not only about creativity as a particular cohesive project that manifests itself in subsequent works, but creative production as a chain of distinctive completed works.
In Sysiak’s work, pathos, idealism, and verve meet with humor and prosaic, „low” materials taken straight from home improvement stores. This tension is already evident when we compare the artist’s pieces side by side: next to the impression of a sensual composition that seems to be hastily put together from found objects, we find charts filled with erudite references, an autonomous exhibitions about a multi-layered narrative with its own artwork and references.
Jakub Banasiak: How would you describe the overall nature of your work?
Paweł Sysiak: I like how the only thing I can say to answer this question is that it addresses issues important to me. I can tell you about it from apurely formal standpoint. Let us deliberate a parallel with a painter. His job is to utilize a paintbrush to find gestures, ways to layer or dry paint, so that the artistic mark can be a loaded as possible with meaning. To put it simply, he searches within the medium of painting for a certain automation for expression. I am also looking for this automation, but I am looking for one that is independent from the medium. My search is not as deep as it is broad, it goes across topics and media. This is so to have maximum flexibility in choosing themes.
– Would you like to have influence over your work even after the end of an exhibition. Why is it important for you to precisely control what will happen to your pieces later?
– The documentation of a piece is, in my regard, a job of equal creative importance to its own execution. I don't understand artists who concern themselves with the nuances of imagery and understand how sensitive of an issue composition is, forget everything in the moment of creating a picture of the painting itself. After all, we mostly experience art through reproduction. It often happens that an artist puts a great amount of time into making a work, but, despite that fact, it is proven through time that one short interview is far more effective than simple artistic symbols. The answer is clear: under these circumstances, artists should more frequently “sculpt” in their interviews, in the theories about their work, in reproductions.
– When referring to your work, you often use the term, “gradient of options”. What does that mean?
– For me, it is not important if we call something a work of art. I use the word “gradient” to emphasize the breadth of possible choices, elements, roads, and their accumulation in a singular work. I would like for it my work to exist like medieval polyptych altarpieces, where one can adjust their view from a general perspective of the painting to macro scale by zooming in on the work by approaching it closer. Here, I would strongly recommend looking at Rogier van der Weyden's, The Last Judgement in Beaune.
– Amongst your inspirations, you list not only important architects and artists, but also accomplished soccer players and rappers. How should we understand this? How do they all have an effect on what you do?
– It seems to me that, it is quite common to confine the creativity of the representatives of a certain profession to their respective fields. I try to experience someone's creativity across disciplines. Let me provide an example. For me, the goal Dennis Bergkamp scored in the quarterfinal match between Holland and Argentina at the World Cup in France in 1998, was the result of a greater creativity, an expression of the brilliance of the human mind and something much more powerful thanthe whole painting career of the also interesting Jan Cybis (a key member of the Colorist movement in Poland in the 1930s). In turn, Jay-Z admits that he has it so that he can come up with two hits that will remain in the Top 10 of the Billboard charts for two months in half an hour. The list goes on. To put it simply, I try to search for eruptions of creativity beyond the field of art where I (theoretically) find membership.