The power of his works lies not only in the composition (mine, ours, better or worse), but in the movements of the brush - lines made with great strength and determination, in the vibrating patches of colour and accompanying colour schemes, in an emotional treatment of the very gesture of applying paint to canvas, and the joy of the creative process.
Autism - an incurable disease. It sounds like a sentence ... the question is a sentence for whom. For the person with autism or maybe for the people around them? It might be worthwhile to change this statement and say that autism sounds like a challenge ... but again the question crops up: a challenge for whom?... I definitely agree more with the second sentence. It brings up a more positive aspect and the potential to change our outlook on the subject of people suffering from autistic disorders.
The list of psychological, behavioural or functional disorders of people suffering from this disease is long indeed. However, I don't just want to revoke it. Bearing in mind the diversity of autistic symptoms, I want to avoid homogenising and group treatment of those people. I would like to mention the aspects which I have observed while working with Albert Jeżowski and which have contributed to the success of our cooperation. The challenge was to make creative use of both our personalities.
Albert with his simplified world filled with behavioural patterns and repeatability, grounded in rituals of consecutive elements of everyday life and fear of new places met me - an artist constantly seeking new ways of artistic expression, based in Krakow and Milan, curious about the world and its secrets. We are both 27, we met at my studio at ulica Na Zjeździe, not far from where Albert lives.
Albert visits me in my studio at different intervals, usually twice a month. He creates his works sitting at an easel or at a table on canvases which I have prepared. The work begins by mixing acrylic paint on a palette. I ask him what colours he wants to chose, however when he is not sure I do the choosing myself. He always covers the canvas very thoroughly also painting on the edges where he never overlooks even a smallest unpainted fragment. As his work progresses, I turn the paintings around so that Albert can paint in another direction as this is then visible on the surface of the canvas. This doesn't always work. The movements of the brush from top to bottom may be repeated in the same sense after the painting has been rotated by ninety degrees. When the canvas is lying on the table, the movement is mostly circular. However, sometimes Albert listens to my suggestions about the composition. He copies the movement of my hand which then shows on the canvas. Hence the geometric elements in his paintings. However, the power of his works lies not only in the composition (mine, ours, better or worse), but in the movements of the brush - lines made with great strength and determination, in the vibrating patches of colour and accompanying colour schemes, in an emotional treatment of the very gesture of applying paint to canvas, and the joy of the creative process.
When our class comes to an end, I put up the Albert's newly painted work on a wall reserved for the purpose in my studio.
After our class, I continue working on my own paintings. Meetings with Albert allowed for a mutual exchange of artistic experiences and emotional treatment of the creative process. The fact that we are both the same age means that our meetings helped me to take another look at the world around me.