Pia Krajewski has developed her own aesthetic language which expresses itself through the following three components: luminous colours, soft shapes and the structure of her 3-D resembling subject matters.
Her work is tangible yet abstract. With its three-dimensionality, sculptural approach and textural references, it brings abstraction to life, though its subjects are not always decipherable at first glance. There is a "tension" between familiarity and foreignness of the shapes. Objects are at the core of Krajewski’s subject matter; however, the new vitality she brings to them is without bounds and highly palpable.
The combination of the foreign and the familiar found in Krajewski’s shapes are reminiscent of the oscillations of perceptions. The sense of familiarity that the viewer experiences when encountering her works is ever-present but ultimately impossible to pin down to an identifiable subject. The almost "déjà-vu" aspect of her works leaves the viewer eager to fill the blanks of their perceptions.
The life inherent in Krajewski’s art originates from the marriage of their organic qualities and their depth. Krajewski blurs the line between abstract and figurative, as her subjects may seem familiar, but their newfound context and acute levels of detail are initially foreign to the viewer.
Drawing from a wide array of sources of inspiration, including architectural ornaments, fruit, armours, hair, and pillars, Krajewski’s art continuously pushes its viewers to question what they are faced with. The anthropomorphic and organic aspects of her work are what bring it to a specific space where the lines are blurred between the tangible and the intangible.
The large scale of Pia Krajewski’s works captivates the viewer and transports them to a world where their sight can solely guide them to grasp and appreciate the subject matter. This unique format, where detail is highly visible, enhances the larger-than-life persona that her subjects occupy.
Lea Lotey Goodman ARTUNER
(...) Pia Krajewski could be described as a painter of an abstraction that is simultaneously poetic and analytical, a delving into the investigation of shapes and forms that is elevating and grounding. Krajewski’s painterly style satisfies the viewer with a multi-sensorial experience of her reality; the haptic quality of her artworks evoke a familiar feeling, even though the represented subject remains generally unidentifiable. As Pia places her subjects are on a plain background, they become distanced from any other territory, othering their familiarity.
The subjects in Pia’s canvases exist in a reality that is approachable and experienceable only through sight. Humans preserve their knowledge of touch after feeling different materials, and the mind creates a map of the world following those parameters. The tactile memory persists in the brain, catalogued alongside other thoughts; one could probably remember how it feels like to touch fresh soil, or a pinecone, without needing to feel them.
Pia Krajewski’s art is built on these layered memories, as she searches for them in her photographic archive of different shapes, textures, and shadows. It’s within those images of reality that Krajewski’s subconscious finds abstraction, outlining her perception of it on her large-sized canvases. The translation between the tangible and intangible, levels with a loss in the process: the details of the real world linger and stretch into shapes that, suddenly, become detached from what keeps them earth-bound. (...)
"Pia Krajewski: The Visualisation of Memories" written by Ludovica Colacino ARTUNER
Interview TALKING ABOUT ART