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Headings H1 5
H2 1
H3 24
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H5 3
H6 14
H1
jarek kubicki
gallery
wallpapers
exhibitions and events
contact me
H2
uk representation: hope art publishing
H3
„i receive many questions from other image makers about the brushes i use in photoshop. i have just two: circular and squared, without texture. this surprises people, but when i want to gain a more brushlike effect, i take a piece of paper, use a real brush and some paint to apply some strokes, and then i scan it. then, inside photoshop, i ‚paint’ with the scanned brush texture, and even though i’m working digitally, the effect looks more natural. like real paint on paper.”.
in the studio
presentation at ukryte miejsce
behance
facebook
tumblr
deviantart
textile 1
textile 2
black flag 1
black flag 4
black flag 5
black flag 7
60546
60555
60562
60568
60582
60588
60607
ghost
60610
2015.623
past
H4 selected interviews
designer's depot, 10.2009
selected publications
kulturą w płot, 2.7.2014
sztuka szuka, 1.10.2013
fashion156 7.06.2012
nonsense society, 4.2009
webesteem magazine, 2005
webesteem magazine, 2005
you can follow me on these pages
or just view selected galleries
you can purchase original paintings and limited edition prints (with certificate of authenticity) on my store
spotkanie z okazji otwarcia wystawy
gdansk, bunkier club, 22.06-31.08.2013
jarek kubicki: moje foto story!
rumours about angels 2 premiere
H5 whole ghost series on facebook gallery
prace z serii rumours about angels można zobaczyć na: stronie facebookowej projektu
rumours about angels 2 images you will find on: project's official facebook page
H6 adobe inspire: spotlight on jarek kubicki [2012]
designer's depot [2009]
altered images [2011]
beksiński nie żyje, ale ma się dobrze [2014]
jarek kubicki – surrealizm w czystej formie [2013]
jarek kubicki - ghost series review at fashion 156 [2012]
review of jarek kubicki [2009]
rumours about angels ii [2005] wersja polska
rumours about angels ii [2005] english version
15.10.2013 / gdańsk / spotkanie z kamilą wyroślak i jarkiem kubickim
22.06.2013 gdansk, spotkanie z okazji otwarcia wystawy.
2013 gdansk, first solo exhibition poland
2013 sopot, poland, spotkanie z cyklu moje foto story!
2005 rumours about angels 2 premiere, gdansk, poland
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Linki wewnętrzne

about #about
gallery #gallery
prints & sells #services
news & events #culture
wallpapers #wallpapers
contact #contact
home #homepage
hope art publishing caroline@hopeartpublishing.com
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jarek@kubicki.info mailto:jarek@kubicki.info

Linki zewnętrzne

https://www.facebook.com/jarek.khaal.kubicki
http://www.lastfm.pl/user/k_haal
http://jarekkubicki.tumblr.com
http://jarekkubicki.wordpress.com
https://dl.dropboxusercontent.com/u/34196984/jarek%20kubicki%20art%20resume.pdf
https://dl.dropboxusercontent.com/u/34196984/jarek%20kubicki%20-%20cv%20en.pdf
designer's depot, 10.2009 http://designersdepot.noelevz.com/featured-artist-for-the-week-jarek-kubicki/
kulturą w płot, 2.7.2014 http://kulturawplot.pl/2014/07/02/zdzislaw-beksinski-jarek-kubicki/
sztuka szuka, 1.10.2013 http://sztukaszuka.pl/2013/10/01/jarek-kubicki-surrealizm-w-czystej-formie/
fashion156 7.06.2012 http://www.fashion156.com/daily-blog/artist-jarek-kubicki/#ixzz2i4ixluir
whole ghost series on facebook gallery https://www.facebook.com/media/set/?set=a.433651923320841.106944.181305381888831&type=3
nonsense society, 4.2009 http://www.nonsensesociety.com/2009/04/top-hats-jarek-kubicki/
webesteem magazine, 2005 http://art.webesteem.pl/13/raa2.php
stronie facebookowej projektu https://www.facebook.com/media/set/?set=a.121042121254546.18081.121041257921299&type=3
webesteem magazine, 2005 http://art.webesteem.pl/13/raa2_en.php
project's official facebook page https://www.facebook.com/media/set/?set=a.121042121254546.18081.121041257921299&type=3
http://www.behance.net/kubicki
https://www.facebook.com/jarek.khaal.kubicki
http://jarekkubicki.tumblr.com
http://kubicki.deviantart.com
- https://www.facebook.com/media/set/?set=a.181310391888330.42615.181305381888831&type=3
- https://www.facebook.com/media/set/?set=a.215752928444076.61788.181305381888831&type=3
- http://www.behance.net/gallery/the-textile-series-2005/342543
- https://www.facebook.com/media/set/?set=a.181315398554496.42618.181305381888831&type=3
- https://www.facebook.com/media/set/?set=a.397465256939508.100797.181305381888831&type=3
- https://www.facebook.com/media/set/?set=a.433651923320841.106944.181305381888831&type=3
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- https://www.facebook.com/media/set/?set=a.599735660045799.1073741830.181305381888831&type=3
- https://www.facebook.com/media/set/?set=a.493840810635285.122120.181305381888831&type=3
- http://jarekkubicki.wordpress.com/2012/10/16/16-10-2012/
- https://www.facebook.com/media/set/?set=a.184210874931615.44076.181305381888831&type=3
- https://www.facebook.com/media/set/?set=a.181314408554595.42617.181305381888831&type=3
- https://www.facebook.com/media/set/?set=a.181307425221960.42612.181305381888831&type=3
- https://www.facebook.com/media/set/?set=a.181309135221789.42613.181305381888831&type=3
- http://www.store.kubicki.info
my store http://www.store.kubicki.info
strona spotkania na facebooku https://www.facebook.com/events/536345823111401/?notif_t=plan_user_invited
https://www.facebook.com/jarek.khaal.kubicki
http://jarekkubicki.tumblr.com
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 about gallery prints & sells news & events wallpapers contact home jarek kubicki i am an artist, a photographer and a creative director - winner of many prestigious awards in the web design field. i graduated from fine arts highschool in gdynia, i'm also a graduate of academy of fine arts in gdansk. born in 1976 in gdansk, poland. currently, after a few years of career in large advertising agencies in warsaw i have decided to come back to seaside. currently i live in warsaw and work in advertising agency as a creative director. i have been involved in the creative process of many advertising prize-winning projects such as beksinski.pl, rumors about angels ii, both of which were honored with favorite website awards. i participated in a several group exhibitions showing in poland, uk, germany, hungary, belgium and romania. in june 2013 i had first solo exhibition in poland. uk representation: hope art publishing tweety użytkownika @kubickijarek --> selected interviews adobe inspire: spotlight on jarek kubicki [2012] when digital photography was in its infancy, much of the discussion centered on how to move the image-making process away from analog (film and print) toward digital (files and pixels). now, as the digital side of the craft has matured, there is just as much discussion about how to reintroduce some of the magic of analog image capture back into digital images. the best analog workflows of the earlier days of photography brought with them a certain delicacy of tone and subtlety of texture that can be difficult to reproduce digitally. for image makers who used those techniques, the process of converting continuous tone negatives, slides, or scenes to a series of numerical values always seemed a little soulless. however, the push to represent photographic colors and tones digitally has been unstoppable and has helped revitalize an industry that had changed comparatively little over the previous 30 years. so most of the „analog-ists” (okay, not a real word) succumbed to the prevailing winds and switched to digital capture, process, and output. nevertheless, the subtle tones and textures of the analog days were never far from their minds, or their hearts. jarek kubicki is one such analog-ist. coming from a background that combines photography and design with traditional painting, drawing, and illustration, he understands the tactile qualities that a simple analog system, such as charcoal on paper, can produce. his work revels in slow transitions from the darkest grays to the deepest blacks, and the subtle flow between the white of the paper or screen to the first hint of discernible texture. he makes little attempt to hide the strokes and marks used to produce his illustrations, instead incorporating their texture into the very fabric and design of each image. that said, jarek kubicki is also a realist. so when he creates his signature images, he readily combines the best of both digital and analog methods. in the process, he manages to capture the gentle textures and subtle tones much heralded in photos created traditionally, and combines them with 21st century speed and efficiency, taking advantage of the almost infinitely variable enhancement control offered by adobe® photoshop® and a digital workflow. „i receive many questions from other image makers about the brushes i use in photoshop. i have just two: circular and squared, without texture. this surprises people, but when i want to gain a more brushlike effect, i take a piece of paper, use a real brush and some paint to apply some strokes, and then i scan it. then, inside photoshop, i ‚paint’ with the scanned brush texture, and even though i’m working digitally, the effect looks more natural. like real paint on paper.”. designer's depot [2009] source: designer's depot, 10.2009 tell us about your humble beginnings, when did you you first realized that you wanted to be an artist? well… it was when i was just 2 years old :) seriously – as i remember i always wanted to make some pictures, designs, sketches… what are your tools of the trade and why? i’m not geek and i didn’t think that tools are something important.. i use a mouse – the usual logitech mouse, tablet – an a5 intous 3 wacom – i think it’s better for me than the larger a4 tablet. i don’t know why – maybe i like little spaces? i have a lot of traditional pencils, brushes, pens. some of them are expensive talens products, others – the cheapest ones. i have a large easel too. who or what gives you inspiration? the best answer to this question is just to say “the whole world around me” and i think it’s really close to the truth. i get inspiration when i’m watching movies, listening music (on my headphones or on concerts), reading books and albums of historical art and browsing newest (flash) websites on the net. and of course my 4 years old daughter gives me inspiration too! is your artistic background self-taught or did you go to college to study? yes, i did: i graduted from fine arts highschool in gdynia (department of photography) followed by the academy of fine arts in gdansk (department of industrial design). how do you keep “fresh” within your industry? i’m not sure i’m still “fresh”… what are some of your current projects? i’m living in warsaw and working as a digital creative director in one of biggest polish advertising agency – firefly creation. it means that my current projects are strictly commercial projects like creating for international brands such as kraft or nike. unfortunately, i haven’t have the time to make some “artistic” projects at the moment… i hope it will changed in next year. which of your works are you the most proud of? and why? rumours about angels 2 of course – it’s the largest noncommercial projects i’ve even did. it was created in cooperation with bartosz hervy (music composer) in 2005. everything about this project you’ll find on the website. are there any areas, techniques, mediums, projects in your field that you have yet to try? of course they are, for example some old, strange photography techniques such as polaroid, gum etc. i love to merge techniques, mostly the newest like flash animation and power of action scripts as well with traditional paintings and photography. and i also want to try something completely different: i thing about create a sculpture… maybe combining sculpture, painting and motion pictures on it all? i think it would be interesting. what do you do to keep yourself motivated and avoid burn-out? good question, but i don’t know the answer to this one…maybe never ending movement? every minute of my life is occupied. i love red bull and adrenaline (my favourite sport is downhill) but i’m sure there is something else… when you’re not in front of your canvas or monitor, how do you spend most of your free time? my “free time” is composed of trips with my daughter, with my friends or on the bike. my passion is aviation so i hope to learn to fly a glider next year – and now that it’s my biggest dream. and finally, what advices/tips can you give to the novice designers/ illustrators out there? i have some advice to give: don’t listen to others, don’t believe in tutorials, ignore the tips – just do what you want. no rules is the rule altered images [2011] can we start off by you letting us know what camera you use and how long you have been taking photography seriously and are you a professional or do you have ‚other’ work too? in fact i have never been professional photographer. ok, i finished fine arts highschool majoring in photography but the next step was academy of fine arts degree in industrial design. currently i’m a creative art director in one of the biggest advertising agency in poland. 60568 [2010], photography, acrylics, ink, digital manipulation describe your creative process on 60568? (as this will be the one on the facing page to this interview - i love the mood you have captured in this shot, just stunning). what software did you use, etc..?the first part was a photo session with my favorite model. without any idea but almost defined atmosphere of the finished image. i knew that i want to make something dark, melancholic, maybe sad. something in gothic style :) that’s why we used specific makeup and lights. usually i like to set upper light and get deep shadows with dark blende. i used canon 5d camera with 28-70 lens and ordinary flash lights. raw files was edited at first in lightroom then in photoshop. i left raw source as the smart object until the end of work - this gave me the freedom to change the photography settings like color temperature or exposure. at the beginning i had to define strictly what i want to do, so with ordinary (digital) brush i made a sketch. working with sketches is much simpler, faster and more effective than without them. in first three hours i tried a lot of combinations with different directions, shapes of dress and sizes of figure and i made a background of image. background is very important part of my works. sometimes i spent couple of hours until it looks strictly as i want. it’s a combination of many layers of painted sheeds, photographs of dirty walls, parts of metals, wood, old paintings... the next steps were just modeling of dress by adding many layers of parts of fabric and splashes of paint. it was most boring part of creation (but i like to do it :) ) brush strokes that you can see near the model’s hips was created especially for this work by using traditional brushes and acrylics and then scanned into photoshop. how close are your ideas for pictures to the end result?it depends on the case. sometimes final work is exactly as i had invented at the beginning, in other case i started without any idea, invented something, but final effect is completely different. process of the creation is really strange and mysterious:) i think it’s important not to worry and feel free in it. how long can a photomanipulation take to ‚make’. again: it depends on the case. sometimes it took me couple of hours, in other case - couple of weeks. sometimes i ‘m unable to finish some pictures. thats why they are ommited numbers, which are titles of my images. what features of digital photography are pivotal to your work? you can do everything you want. the imagination is the limit. get parts of real world, products of your imagination and put them together into new wholeness, and then do it again in a different sequence. it’s a lot of fun :) what kinds of ideas are you interested in exploring as an image maker?i want to share the atmosphere, not ideas. i like contrasts, beauty and ugliness, i mix strange and unexpected with ordinariness, love and happiness with sadness and hopeless. i don’t want to talk to much to my recipient, everyone has an own story about these feelings what would be the one thing that someone could say about your work that would make you die happy?“i found myself in your images” do you see yourself as a photographer or a digital artist? absolutely i see myself much more as digital artist. i have great respect for serious photographers. they can see what i’ll never see. lastly, most photographers give their photographs titles but you more often than not just give them a random number, any reason? i like when the artist isn’t the narrator. he communicates a message but doesn’t explain it. numbering doesn’t dictate the interpretations of the images. i give the vision, the recipient decides if perception of what he sees. is it sad or happy picture? about love or hate? she’s falling down or she’s arise? i do not know, everyone has a different perception, different experiences and different associations. i do not want to impose my own interpretations. selected publications beksiński nie żyje, ale ma się dobrze [2014] source: kulturą w płot, 2.7.2014w tym roku przypadła 85 rocznica urodzin jednego z najsłynniejszych współczesnych polskich malarzy, którego fantastyczne (w wielu znaczeniach tego słowa) malarstwo pobudzało (i wciąż pobudza) wyobraźnię ludzi na całym świecie. jego naznaczone rodzinnymi tragediami życie miało duży wpływ na tematykę prac, a w związku z nieustannym flirtem ze śmiercią mówi się, że stał się prorokiem własnej, tragicznej. zdzisław beksiński malował do samego końca – nawet wtedy, kiedy otrzymywał siedemnaście ciosów nożem, był w trakcie tworzenia kolejnego dzieła. gdyby nie tragiczne wydarzenia z lutego 2005 roku, prawdopodobnie moglibyśmy oglądać jeszcze wiele jego niesamowitych prac. na szczęście swojego charakterystycznego stylu nie zabrał do grobu. jego duchowy spadkobierca kontynuuje to, z czego genialny artysta był najbardziej znany. co więcej, osiągnął już taki poziom, że niemal mu dorównuje. 60593 [2012], digital painting, photomanipulation, acrylics, ink, pencil and 60538 [2008] photography, photomanipulations jarek kubicki swoje klimatyczne prace tworzy na komputerze (tak jak beksiński po 2000 roku) i podobnie jak zamordowany z zimną krwią twórca jest też fotografem. w jego portfolio nie znajdziemy wyłącznie prac mocno czerpiących z dokonań malarza z sanoka, ale to właśnie te najbardziej przykuwają wzrok i zasługują na największe uznanie. kubicki jest nagradzanym dyrektorem kreatywnym sopockiej agencji reklamowej, mającym w swoim dorobku m.in. projekt strony internetowej beksinski.pl. zajmuje się też designem okładek książek i albumów muzycznych. wszystkie jego dzieła znajdziecie oczywiście na jego stronie internetowej (koniecznie złóżcie mu wizytę), a na kwp pozwoliłem sobie zaprezentować te, które wpisują się w klimat obrazów zdzisława beksińskiego. zobaczcie jak bardzo. jarek kubicki – surrealizm w czystej formie [2013] source: sztuka szuka, 1.10.2013 jarek kubicki – rocznik 76′, gdańszczanin. jest absolwentem liceum sztuk plastycznych w gdyni oraz akademii sztuk pięknych w gdańsku (wydział wzornictwa przemysłowego). laureat wielu prestiżowych nagród w dziedzinie projektowania stron internetowych. miał wystawy w polsce, jak i poza granicami kraju (m.in. w belgii i rumunii), jest także autorem wielu publikacji (m.in. adobe creative newsletter, brand magazine (japonia), practical photoshop magazine, e-volved magazine). brał udział w procesie twórczym wielu nagrodzonych projektów artystycznych, takich jak ‚beksinski.pl’ czy ‚rumors about angels ii’, które to zostały uhonorowane w konkursie favorite website awards. od 2001 roku posiada własne studio graficzne ‚insania evidens’. na swoim koncie ma projekty wielu stron internetowych, współpracę z wieloma firmami, wzory przemysłowe, okładki książek i albumów muzycznych. po wielu latach pracy w warszawie i tamtejszych dużych agencjach reklamowych, postanowił powrócić na pomorze. obecnie mieszka, pracuje i tworzy w sopocie. jest dyrektorem kreatywnym w agencji reklamowej ‚engine’. w czerwcu 2013 roku odbyło się otwarcie jego pierwszej, indywidualnej wystawy. artystą jest, z pewnością, oryginalnym. przez lata wypracował sobie niepowtarzalny, niezwykle perfekcyjny styl. kunszt oraz warsztat jarka kubickiego widać na każdym kroku. z lekkością bawi się wszystkimi możliwymi technikami. bogactwo faktur, kształtów, odcieni – to wszystko tkwi w jego malarstwie, rysunku, fotografii, a także w video art. sztuka, którą tworzy autorsko, jest dość surrealistyczna. granica pomiędzy realnością i fikcją zaciera się, świat jego dzieł jest niepokojący, przyglądamy się obrazom naładowanym emocjami. autor poszukuje w zakamarkach ludzkiego umysłu, inspiruje się człowiekiem, a szczególności kobiecą tajemniczością. na wyjątkową uwagę zasługują tzw. foto-manipulacje. na nich właśnie można podziwiać kobiece piękno przeplatane z wyczuwalnym poruszeniem, zamieszaniem, czymś nadnaturalnym. to dzieła wybitne, charakterystyczne i jedyne w swoim rodzaju. 60551 [2009], paper, ink, digital manipulation jest sztukmistrzem. nie narzuca swojej wizji, on jedynie przekazuje pewien komunikat, nie tłumaczy go. nie chce być narratorem, jego celem jest wprowadzenie widza w dany temat – a sam oglądający ma dopiero wyrobić sobie własne zdanie. każdy ma przecież zupełnie inne postrzeganie świata. działając na polu reklamowym artysta może się poszczycić równie ogromnym dorobkiem. tworzył dla największych firm w polsce. jego dokonania są zdumiewające, a nieprzeciętne projekty można odkrywać w zasadzie na każdym kroku w życiu codziennym. we wszystkich pracach wydaje się, iż wyobraźnia jarka kubickiego nie ma granic, a jego możliwości artystyczne ciągle zaskakują. ‚sztuka szuka’ zachęca was do zapoznania się z bogatym dorobkiem tego wybitnego, polskiego artysty: http://www.kubicki.info . odnośniki na stronie jarka kubickiego zaprowadzą was do ogromu prac, które są wytworem jego bogatej wyobraźni. to wybitna osobowość na polskiej scenie artystycznej, nie możecie więc przejść obok niego obojętnie – wejdźcie do jego rzeczywistości. jarek kubicki - ghost series review at fashion 156 [2012] source: fashion156 7.06.2012 poland based jarek kubicki is one of the most diverse artists i have come across as he covers the realms of graphic design, web design, photography, fine art, and more. amongst his variety work, his latest series “ghost” is by far my favourite. ghost 1, ghost 2 [2012], photography, digital manipulation kubicki manipulated his own photography to create these stunningly abstract photographs. he merges sections the body with a transparent mesh garment and the final images are incredibly realistic. kubicki manages to keep the natural beauty of the feminine shape flowing through the model and into the garment itself. ghost 3, ghost 4 [2012], photography, digital manipulation when i first look at the third photo down, the placement of the mesh garment seems like an x-ray of the model’s abdomen, showing the muscles and nerves that run throughout her body. if you find these photographs as unbelievable as i do then take a look at his website to view some more of kubicki’s diverse range of artwork. whole ghost series on facebook gallery review of jarek kubicki [2009] source: nonsense society, 4.2009 a downside of being fairly technologically savvy is that it often takes the magic out of things. where others are taken in by the oddness of a particular picture found somewhere in the bowels of the internet, i’m most often looking for stray pixels that prove to me the image was photoshopped, and i’ve seen quite a few shops in my time. it is rare in this day and age, when looking at art, for me not to just assume that it is been done digitally, which takes quite a bit of the magic out of the art. because just as an art scholar in the louvre spends more time analyzing brush strokes than he does enjoying the art, and a food critic tends to spend more time swirling his tongue around in his mouth trying to separate out the individual flavors that should just be a god damn cookie, i’m not looking at a pretty picture. i’m looking at brush sizes and gauging opacity scalers. if you have not already been inducted into our fold, dear reader, do not be taken in by our apparent elitism, and seemingly endless fountain of knowledge! no, stay away! for the burden of knowledge is a cold and dreary life, darkened by a lack of appreciation for almost everything. i say almost everything because, every so often, there is an artist that produces something so raw and pure, that my inner critic is silenced, and i am once again six years old and at a magic show, enthralled by the disappearing bird. (i’d like to take this moment for thanking the prestige for ruining that trick for me… christopher nolan you are a jerk and i hate you! poor little birdy…) yes, once or twice a year i see something that brings the light back into my dreary critique-filled life of analyzation. something that allows me to see the whole picture, and then ask myself, how the fuck did he do that? jarek kubicki is exactly this sort of artist. 60567 [2010], photography, digital manipulation apparently what he is doing is called photo manipulation. i don’t want to call it that. i suppose that in the rawest sense of the form, there are photos, and they are being manipulated, however photo manipulation draws to my mind what i do on a boring sunday afternoon while using aperture. i could spend every afternoon for the rest of my life screwing around in aperture and not create anything like this. is it digital? is paint involved? are miracles? tell me jarek! do not keep your secrets all to yourself! of course, this is mostly over-exaggeration (mostly). but it is rare to see such beautiful work on the internet. (though it seems surprises of this sort happen every day on this site) but my job as a reviewer, on a site where everything is available for you to access for free, is to get you to expend the limited amount of energy necessary to click here and give some of these amazing artists recognition. if you’re feeling especially energetic, you leave a comment on their site. jarek, while certainly not alone in deserving this recognition, is exactly the sort of person you should honor with your eyes and words. his art is beautiful, seamless, and in some cases nsfw (that’s “not safe for the workplace,” for those of you who don’t know). complaints are, as usual, minor, and stem from the fact that jarek seems to stick to a formula of pretty girl multiplied by disjointed reality plus paint splotches. fortunately for us, it’s a formula that works, and even if he doesn’t branch out at all, i’d be happy to see more of the same, but i’d also love to see something that deviates from that formula a bit. also, while the photographs themselves have quite a bit of dimension, the backgrounds, where the majority of the manipulation is to be found, seem more flat. that’s visibly flat, not emotionally flat, which in this case is a very important distinction. rumours about angels ii [2005] wersja polska source: webesteem magazine, 2005 początki tego projektu sięgają przełomu 1999 i 2000 roku, kiedy zacząłem prace nad cyklem fotomontaży realizowanych w ramach zajęć w pracowni malarstwa prof. harasa na gdańskiej asp. powstało wtedy 7 prac nie spiętych ze sobą żadną głębszą ideą. jakieś dwa lata później wspólnie z bartoszem zaczęliśmy myśleć o stworzeniu wspólnie dużego projektu. w czasie niekończących się dyskusji postanowiliśmy bazować na tytule tamtego cyklu. i to właściwie jedyne, poza częściowo techniką użytą przy tworzeniu prac, nawiązanie do pierwszej części cyklu. w czasie tych wielu rozmów tworzyliśmy swego rodzaju scenariusz, odpowiadaliśmy sobie na pytania takie jak: „po co?”, „dla kogo?”, „jak?”. gdzieś pod koniec 2002 roku znaliśmy większość odpowiedzi na te pytania i postanowiliśmy wziąć się do działania. prowadziłem wtedy wstępne rozmowy z dzierżawcą pewnego znanego klubu w warszawie na temat zorganizowania tam premiery. wstępna data została ustalona na marzec 2003. jednak w tym czasie pojawiło się wiele nowych wyzwań, które zmusiły nas do odłożenia tych planów na czas bliżej nieokreślony. wiele z pomysłów już przygotowanych na rumours about angels ii wykorzystaliśmy np. w stronie, którą zrobiliśmy dla zdzisława beksińskiego. do rozmów na temat projektu wróciliśmy na początku 2004 roku, wyszczególniliśmy wtedy najważniejsze elementy, które projekt musi zawierać: ● elementy identyfikacji wizualnej ● obrazy ● utwory do każdego z obrazów ● wstawki wideo pomiędzy obrazami ● prezentacja wideo na dwa projektory ● strona www ● premiera ten moment nadszedł wczesną jesienią 2004 roku, kiedy w zaprzyjaźnionym studiu fotograficznym w gdańsku zrobiłem pierwsze zdjęcia do raa2. głównym mottem estetycznym, które sobie narzuciliśmy, było hasło „kontrasty”. piękno i brzydota, doskonałość i niedokończenie, wszechmoc i bezradność, erotyzm i antyerotyzm, cisza i hałas. ten projekt miał być nieoczywisty, wprowadzać w błąd i w ten sposób prowokować. w logo jest piórko, niemal modelowe. a za nim kryją się anioły (?) bez skrzydeł. proces ma prowadzić od bezkształtnej masy aż do narodzin „cudu”, kolejne fazy rodzenia zakończone unicestwieniem tuż po osiągnięciu celu. bo to co piękne powstaje w okolicznościach będących zaprzeczeniem jego istoty – w brzydocie, bólu. a gdy już proces dobiega końca - często jest unicestwiane. ale też miało być to atrakcyjne bez docierania do tego przesłania, to „miało się dobrze oglądać i słuchać”. drugie z naszych założeń to stworzenie w pełni profesjonalnego projektu artystycznego. takiego, który nie nuży, nie budzi zażenowania swoim amatorskim niedopracowaniem, nie jest adresowany do wąskiego grona krytyków. to miało być coś, co sami z przyjemnością chcielibyśmy oglądać, tak jak uważamy, że sztuka na początku xxi powinna wyglądać. najważniejszy w tym projekcie był odbiorca. zaczęło się od szkiców ołówkiem, które powstawały mniej więcej od połowy 2003 roku. od początku zakładałem jak najszersze zastosowanie technik, a całość miała być łączona w popularnym programie graficznym. tak więc oprócz fotografii są też skany różnych obiektów – tkanin, gazy opatrunkowej, kawałków blachy i sam już nie pamiętam jakich jeszcze przedmiotów. do tego skany kartek zarysowanych piórkiem z tuszem, pomazanych pędzlem z farbą itp. razem kilkaset plików z tego typu graficznymi „samplami”. do tego w kilku przypadkach zrobiłem już dokładniejsze szkice po wybraniu konkretnych fotografii. potem mozolnie powstawał obraz za obrazem. kilkaset warstw, około 1 gb pliki graficzne, całość w 3000 x 3000 pix. przy takiej ilości obiektów trzeba było bardzo uważać by wszystkie były odpowiednio wymaskowane, by oświetlenie czy saturacja zgadzało się z całą sceną. ważne było by nie zgubić koncepcji całości – by się w tych detalach nie zatracić. równocześnie z obrazami powstawały inne fragmenty projektu – podstawowe elementy identyfikacji, reklamy prasowe, ulotki itp. od listopada 2004 kiedy do projektu dołączyła oliwia piotrowska i zajęła się managementem. projekt zmienił swój charakter, pojawił się kalendarz kolejnych wydarzeń, kończenia kolejnych etapów i wreszcie nowe słowo w projekcie: deadline. wyznaczony na 2 kwietnia wydawał się niezwykle odległy… nową kategorią w projekcie stały się wszelkie prace poświęcone promowaniu projektu – ulotki, bannery, plakaty, kolejne odsłony strony promującej projekt. w pewnym momencie zrobiło się więcej pracy nad obsługą raa2, niż samej pracy nad obrazami. jeszcze przed zakończeniem ostatniego obrazu zacząłem projektować stronę internetową raa2. w założeniu miała być to prosta graficznie strona – raczej dodatek do głównej prezentacji. ale miała być schludna, porządna i we flashu. dużą rolę w niej miała odgrywać muzyka, dlatego duża część naszych prac skupiła się właśnie na tym zagadnieniu. graficzną inspirację stanowił dla mnie interfejs systemu operacyjnego aparatu usg. pierwotna wersja strony była do niego dość mocno zbliżona. już na etapie realizowania projektu we flashu dodałem bardziej „malarskie” tło kontrastując je z pozbawionymi antyalisingu, suchymi czcionkami wszystkich tekstów na stronie. w realizacji strony, podobnie jak przy realizacji beksinski.pl mocno wsparł nas od strony programistycznej krzysiek kubicki. sama prezentacja obrazów w sieci miała również nawiązywać do usg, stąd te „techniczne” elementy wokół obrazów. podczas niekończących się rozmów z bartoszem dobre dwa lata przed premierą raa2 powstała koncepcja 13 obrazu kończącego cykl. wiedzieliśmy, że ma to być jak cięcie nożem: ostre, brutalne zakończenie bez dosłowności. zaczynaliśmy realizację projektu nie wiedząc jak ten obraz będzie wyglądał. coraz bardziej zdawałem sobie sprawę że nie może być to obraz tak jak poprzedzające do dwanaście. chyba dopiero w marcu – miesiąc przed premierą – dotarła do mnie skala tego projektu. wszystkie wątki, etapy, zaczęły naraz zbliżać się do końca, wydawało się, że ilość pracy, która nas jeszcze czeka uniemożliwi zrealizowanie wszystkiego, co sobie zaplanowaliśmy. do tego wszystkiego, jakby było mało, musiałem się nauczyć równo uderzać w perkusję… ostatnie, niezwykle męczące dni i noce prac upłynęły przy włączonym cnn – w watykanie działo się coś niepokojącego, z każdą chwilą bardziej przerażającego. oprócz powszechnych wtedy uczuć czuliśmy strach, że premiera się nie odbędzie, a miesiące pracy będą stracone. w końcu premiera miała odbyć się w kościele… 2 kwietnia wczesnym popołudniem wiemy już, że cokolwiek się stanie premiera się odbędzie. wrażenia podczas próby świateł w kościele były naprawdę powalające. trzeba przyznać, że radek bekieler, który odpowiadał za światła, fantastycznie wywiązał się powierzonego sobie zadania. powieszone antyramy z wydrukami prac przykryliśmy czarnymi, łatwymi do zdjęcia, płachtami materiału, we wszystkich antyramach z wyjątkiem trzynastej – na niej materiał był zabezpieczony przed zdjęciem. przed samym występem poprosiliśmy ochronę, by nikomu nie pozwoliła „13” odsłonić. z kilkuminutowym poślizgiem zaczęliśmy wpuszczać ludzi do kościoła. chyba nikt z nas nie spodziewał się aż tylu osób. kościół został po brzegi wypełniony. tuż po 19:30 zaczyna się nasz występ, jednak trudno mi cokolwiek o nim powiedzieć, gdyż ze sceny niewiele było zarówno widać jak i słychać. zdecydowanie było to dla mnie silne przeżycie i brak słów by oddać atmosferę, która się wytworzyła. nie ukrywam, że moim marzeniem jest powtórzyć to wydarzenie. po koncercie ściągamy dwanaście tkanin z obrazów i prawie natychmiast opuszczamy kościół i jedziemy wrzucić stronę na serwer. nie bez problemów wynikłych ze złośliwości przedmiotów martwych udaje się nam to w końcu zrobić. do późnej nocy zajmujemy się rozwiezieniem sprzętu, po czym docieramy do klubu „punkt”, gdzie odbywa się afterparty – w nielicznym już składzie, ze względu na wieść o śmierci papieża. za nami wiele miesięcy ciężkiej pracy, cieszę się, że mogłem ją wykonywać w gronie przyjaciół, satysfakcja jest tym większa, gdy nasz trud zostaje w jakiś sposób wynagrodzony np. przyznaniem stronie raa2 tytułu strony dnia na www.favouritewebsiteawards.com. właściwie 2 kwietnia nie oznaczał końca prac na dym projektem, w pewnym sensie – początek. projekt wchodzi teraz w kolejne fazy, wciąż modernizowana jest strona, pojawiają się konkretne plany powtórzenia spektaklu z gdańska. oznacza to jeszcze więcej pracy nad tym, byście jeszcze nie raz o rumours about angels ii usłyszeli. prace z serii rumours about angels można zobaczyć na: stronie facebookowej projektu rumours about angels ii [2005] english version source: webesteem magazine, 2005 the beginnings of this project reach to the breakthrough of 1999 and 2000, when i started the work of the cycle of trick photos being realized during the occupations in studio of painting led by prof. haras in asp, gdansk. about two years later, together with bartosz we began to think of creation a common large project. during the almost never-ending discussions we have decided that it would be based at the same title as the previous one. and this is only, pose partly the same technique used in creation of this works, connection to the first part of the cycle. at that time, during many discussions, one's kind script was created, we answered to such questions as "what for?", "for whom?", "how?" on the end of 2000 we have known most of the answers of these questions and decided to take to working. i have been leading at that time talkings with the tenant of one of well-known warsaw clubs to organize there our event. preliminary date was established on march, 2003. but till then many new challenges have appear, which forced us to putting these plans aside indefinitely. many of the ideas already prepared for rumours about angles ii have been used, for example, in the website made for zdzislaw beksinski. we came back to the discussions about the project on the beginning of 2004, when the most important elements, which the project must have contained, were specified: ● the elements of visual identification ● paintings ● music to all of paintings ● the insertion of video among paintings ● the display of video-signal on two projectors ● the website ● the organization of the premiere that moment came early autumn, 2004, when i made the fist photos for raa2 in the friendly photographic studio in gdansk. the main aesthetical motto, which was taken by us, was a key word - "contrasts". beauty and ugliness, perfection and imperfectness, omnipotence and helplessness, erotism and antierotism, silence and noise. this project had to be unevident, putting in a mistake, and in this way provocative. in logo there is a feather, this is almost model. and behind it there are angles (?) without wings. process has to lead from shapeless mass until to the moment when "the miracle" is being born, the following stages of birth is finished with annihilation just after achievement of aim. because everything which is beautiful comes form circumstances being a negation of its essence - in ugliness, pain. and when process reaches already end - it is often then annihilated. but also this is to be attractive without reaching to this meaning, this had to be also "well to look at and to listen". second of our presumptions was to create the fully professional artistic project. such which does not tire, does not wake embarrassment its unprofessional non finishing up, and not is addressed only to critics' narrow circle. this had to be something, what we also would have been watching with pleasure, as we are consider what art should look like on the beginning of 21st century. the recipient was the most important in this project. it started from drafts with pencils, which were being made more or less from half of 2003. from the beginning i implied the widest use of the techniques, and the whole had to be put together in one of the popular graphic software. so beside the photos there are also scans of the various objects: fabrics, silk - gauze, pieces of sheet metal and i do not remember which things. what is more: scans of the sheets scratched by the feather with ink, smeared with paint and brush etc. almost a few hundreds of files with such samples were made. in addition to this, in several cases i have made more already exact drafts after choosing concrete photos. after that painting after painting was created strenuously. a few hundreds of layouts, about 1 gb of graphic files, all in 3000 x 3000 pix. in such a number of objects i had to be careful in all the layouts were being properly masked, and find if the lightning [irradiation] or saturation suit with the whole scene. it was important not to lose the general conception - not to get lost in such details. simultaneously with the paintings other pieces of the project were made - the basic components of identification, press advertisements, leaflets etc. since the november, 2004, when oliwia piotrowska joined the project and took care of management, our project has changed its character, there was prepared a calendar of its events, finishing of the next scenes and at least a new word in a project - a "deadline". the new category of the project was all the workings with the promotion - leaflets, posters, banners, the following scenes of website promoting it. a moment it was more work for us with promoting the raa than with the paintings. before the end of the last painting i started projecting the website of raa. in establishing it would be a page with simply graphic - rather an addition to the main project. it had to be spruce and neat, made with the flash technology. music had to play in it a large part so a large part of our workings has concentrated just on this problem. i was inspired by the graphic interface of the usg operating system. the first version of the website was strongly similar to it. during the stage of the project has been realized in flash, i have added more "painting" background to contrast it with fonts of the texts of website, which were deprived of antilising and "dry". in the realization of code of that website we were supported by krzysiek kubicki, as well as in the beksinski.pl project. the only presentation of the paintings had also a link to the usg, because of all this technical elements rounded paintings. during never-ending discussions with bartosz, two years before the premiere of raa2, a conception of the last, finishing, 13th painting was formed. we knew that it must have been like the cut of the sharp knife - sharp and brutal end without any literalities. we started to realize the project not knowing how the last painting might have been looked like. more and more strongly we were finding out that it should not have been a painting in a way as the previous twelve were. probably really in march - a month before the premiere - i have reached the scale of this project. all these plots, stages, began suddenly approaching to end, it seemed to us that the amount of work to be done would have made realizing of all our plans impossible. what is more, i had to learn how to evenly hit the drums. in the last, unusually tiring days and nights of working passed with the cnn channel opened - in vatican something very worrying, more and more horrifying was happening. except the general feelings we felt also a strong fear that our premiere would have not been able to be shown and all this months of hard workings would have been lost. and the premiere had to be shown in the church... on the 2nd of april we already knew that whatever might have happened the premiere would have taken place. during the test of lights in the church our impressions were overthrowing. one should to admit, that radek bekieler, which was responsible for lights, fantastically fulfilled his tasks. we covered the hung clip frame by black, easy to take out sheets of material, in all of the paintings except the last one, 13th - on this painting the material was protected before the uncovering - we asked the security not to let anybody uncover it. after the several minutes of delay, we began to letting people going in. nobody among us would probably expect so many persons. the church was filled up. after 19:30 our performance begins, but i can hardly nothing say about it, because one could not see and hear a lot from the stage. for me, it was certainly a huge experience and there are no words able to show the atmosphere of our performance. i do not deny that repeating this event is one of my dreams. after the concert we are uncovering the paintings and almost immediately leaving the church to put our website on the server side. in spite of problems with the "dead objects" we at least did it. to the late night we are delivering the equipment, and in the end reaching the club "punkt", where after party is organized - but only in a few persons because of the pope's death. many months of hard work are after us, i am satisfied that i could do it with my friends. my satisfaction seems to be larger when our work is being in a some way awarded, for example by the title of "site of the day" on www.favouritewebsiteawards.com. the 2nd of april was not the end, but even the beginning of workings on this project. the project comes in a next stage now, side is being modernized continually and there are a concrete plans to repeat the performance from gdansk. it means more work for us to let you hear about raa again. rumours about angels 2 images you will find on: project's official facebook page in the studio 2013 fot. kamila wyroślak presentation at ukryte miejsce sopot, poland, 2013 fot. piotr połoczański gallery you can follow me on these pages behance facebook tumblr deviantart or just view selected galleries wallpapers textile 1 1024x768 1280x800 1280x1024 1600x1200 textile 2 1024x768 1280x800 1280x1024 1600x1200 black flag 1 1024x768 1280x800 1280x1024 black flag 4 1024x768 1280x800 1280x1024 black flag 5 1024x768 1280x800 1280x1024 black flag 7 1024x768 1280x800 1280x1024 60546 1024x768 1280x1024 1440x900 1600x1200 1920x1200 60555 1024x768 1280x1024 1440x900 1680x1050 1920x1200 60562 1024x768 1280x800 1280x1024 1440x900 1600x1200 1920x1200 60568 1024x768 1280x800 1280x1024 1440x900 1600x900 1600x1050 1920x1200 60582 1024x768 1280x800 1400x1050 1440x900 1600x1200 1920x1200 60588 1024x768 1280x800 1400x1050 1440x900 1600x1200 1680x1050 1920x1200 60607 1024x768 1280x800 1280x1024 1366x768 1400x1050 1440x900 1600x1200 1680x1050 1920x1200 ghost 1024x768 1280x800 1400x1050 1440x900 1600x1200 1680x1050 1920x1200 60610 1024x768 1280x800 1280x1024 1366x768 1400x1050 1440x900 1600x1200 1680x1050 1920x1200 2015.623 1366x768 1440x900 1600x900 1680x1050 1920x1200 2560x1440 --> uk representation: art inc. --> you can purchase original paintings and limited edition prints (with certificate of authenticity) on my store exhibitions and events past 15.10.2013 / gdańsk / spotkanie z kamilą wyroślak i jarkiem kubickim gttf gdańskie towarzystwo twórczości fotograficznej zaprasza na spotkanie z jarkiem kubickim i kamilą wyroślak. spotkanie odbędzie się w siedzibie towarzystwa w gdańsku, ul.powstańców warszawskich 25 strona spotkania na facebooku 22.06.2013 gdansk, spotkanie z okazji otwarcia wystawy. spotkanie z okazji otwarcia wystawy 22.06.2013 gdańsk, bunkier fot. michał tokarczuk fot. michał tokarczuk fot. michał tokarczuk fot. michał tokarczuk fot. michał tokarczuk 2013 gdansk, first solo exhibition poland gdansk, bunkier club, 22.06-31.08.2013 fot. michał tokarczuk movie by michał tokarczuk fot. piotr połoczański first individual exhibition which aims to presents the photographs, photomanipulations, graphics and drawing of jarek kubicki. the event will take place in the incredible surrounding of an original world war ii bunker – klub bunkier – a new spot on the artistic map of gdańsk. 2013 sopot, poland, spotkanie z cyklu moje foto story! jarek kubicki: moje foto story! 2.4.2005, st. john church, gdansk, poland 2005 rumours about angels 2 premiere, gdansk, poland rumours about angels 2 premiere 2.4.2005, st. john church, gdansk, poland contact me jarek@kubicki.info warsaw, poland © 2000 - 2013 jarek kubicki / all rights reserved


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