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Whaladaj

There is art that serves as aesthetic enrichment of our world, is to hide its faults, to mask its imperfections or to idealize reality. There are works of art that try to suppress existential anxiety, bring tranguillity, by artistic means they express the universal truths and relations, take part in overcoming chaos. Wieslaw Haladaj's works destroy observers' peace, they do not hide the terrors of life and they do not search for any antidote to it. On the contrary - they reveal it treating it as an inherent part of human condition, that aspect of it which is sometimes realized and verbalised but more often it remains unexpressed, lasting in subconsciousness, dressed in the aura of condensed mood, anxiety, tension.
Wieslaw Haladaj`s artistic world is the human-like one. It is the world of anthropomorphic creatures tied up by specific consciousness and dominated by instincts. What is interesting here is that these abstract (which means irrational) expressions have their roots in the matter of the rational world. They are forms invented by the artist but they derived from real. or probable appearances. They are based on reality but evidently they are exposed to a particular deformation. It is obvious that a part of the artisfs psyche is codified in these oniric visions but his works express the truths about nature and the fears of every human being. Haladaj enters the dark land of human passions. His visions take specific shapes, images strike with expressiveness and particular climate. Gradually likelihood of the objects' appearance and similarity to nature become very distant. The borders of likelihood and fantasy blur. Creatures inhabiting Haladaj`s world of imagination become so transformed that they seem to be half abstract structures. Especially those observed from a shorter distance. The artist in some (latter) works comes closer to the object, enlarges details, is able to show us only a part of the intriguing reality and not, as it was before, the whole of the subject he is concerned with. Let us add that the compositions of lines constitute groups of forms staying in artistic relations and they can be treated as abstract artistic variations. These smaller scraps seem to be only fragments of bigger previously seen pictures. Meanwhile their character changes. Anthropomorphic and zoomorphic forms give way to compositions reminding tangles of vegetal forms, enlarged to unnatural dimensions. These works to a smaller extent refer to the actuai reality. As far as formal layer is concerned more density of lines and less aggressiveness in luminous parts strike in these works. We feel that with condensing and complicating the visual matter an impression of multistratification of the structure accompanies. The eye of an acute observer, focused by artist, penetrates the structure,
tries to permeate through the tangle of lines - innervations of organic forms and, like a moving camera, goes forward leaving behind the slowly opening subsepuent layers. It tries to get to the heart of the mystery. Except for the series of early portraits and recent miniatures Wieslaw Haladaj mainly expresses
his truths within the unbelievable planes, considering both the size and the artistic effect of his linocuts and paintings. The elements of figuration appear from the mass of lines precisely cut in linoleum and then printed on paper or tracing paper. At this stage the artist needs a large surface to feel the form and to reach its distinctness by expressive hatching. It also guarantees an impression of space, the form 'going away' from the surface. Considering the themes, the prints described above correspond with paintings in which the main thematic and figurative motives arę also dominating colour accents. Here we realise how important in Wieslaw Haladaj's works is light, the feeling of space and depth and play of colours which is impossible to achieve in black and white prints. Luminous, neon colours in tempera compositions seem to look like crayon. Contrasts of saturated colours - like opposition of black and white in prints - create anxiety and dynamism.
Drawing still remains an important formal factor - broad, determined and expressive. What makes the human factor - or in a wider sense: the biological .factor in the
artis`s works is the perceivable, specific erotic element. It would be the eroticism of a praying mantis: hard, saturated with activity, aggressive. On the one hand it is repulsive because of terror and denaturalisation
and on the other hand attractive because of it`s biological force and perversive self-destruction. This duality certainly comes from the character and shape of forms, striking poses, fixed gestures and even from the expression of glassy sad eyes drawing messmerically into the abbyss of decadence.
Luckily the tendency towards macabre, to create visions filled by the artist`s anxious imagination is accompanied by a perciveable distance, a jeer characteristic for persiflage. The artist is undoubtely attracted by psychoanalysis, the world of archetypes, but these interests are not uncritical, what is more, he keeps distance, stays suspiciuous. The problem intrigues, it could be the key to the interpretations of dreams. In spite of this the artist brings the element of grotesque.
We percive the qualities of perverse manipulation - especially when we deal with the portrait which originates from the realistic approach.