{"id":15673,"date":"2019-01-23T12:00:12","date_gmt":"2019-01-23T12:00:12","guid":{"rendered":"https:\/\/www.arteclat.com\/?p=15673"},"modified":"2019-01-23T13:38:38","modified_gmt":"2019-01-23T13:38:38","slug":"interview-january-2019","status":"publish","type":"post","link":"https:\/\/www.arteclat.com\/interview-january-2019\/","title":{"rendered":"Interview with Tomasz Alen Kopera – January 2019"},"content":{"rendered":"

\"Arteclat\"<\/p>\n

A great article – interview with Tomasz Alen Kopera appeared in the 27th edition of the polish magazine “Artist and art” [\u201cArtysta i sztuka\u201d]. The archival copy is still available on the publisher’s website, you can order it by clicking here<\/a>.<\/p>\n

Thanks to the courtesy of Mr. Tomasz Mueller and Mrs. Nina Kinitz from the magazine “Artist and art” we have the pleasure to share with you this beautiful interview.<\/p>\n

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Wersja w j\u0119zyku polskim poni\u017cej \/ polish version below<\/strong><\/span><\/p>\n

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I paint my worlds<\/strong><\/h1>\n

Interview: Nina Kinitz<\/h4>\n

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The artist who is not bound by any limitations related to creation process, therefore he gave up commissioned work. For many years he has remained faithful to the aesthetics of surrealism and magical realism, however this does not prevent him from developing his unique style, where the mastery of technique is his hallmark. The works of Tomasz Alen Kopera affect the imagination of viewers from all over the world, although the artist himself cuts away from attempts to interpret them. Let’s see how his fantastic works are created.<\/p>\n

In the works of Tomasz Alen Kopera the dominating role is played by the world of nature, from which stone and wooden figures emerge. Although their bodies are covered with moss, or crumble mercilessly among the levitating shards of stones, it is easy to see the emotions close to each of us on the faces of these monumental beings. Their presence is accentuated by fire, which in the form of heat, hot lava or flames penetrates through the gaps carved in stone faces. Sometimes, however, its place is taken by water, which in the form of a waterfall pours out of the eye sockets or leaves behind only rusty traces on eaten by time surface of cheeks. Full of emotion creatures are closely connected with nature in a universal, timeless space. The mystical character of this relationship is emphasized by symbolism and a mysterious, dark aura, which is a characteristic element of Kopera\u2019s creativity. Although the artist avoids giving interpretations to his own visions, it is difficult to treat them only as imaginary worlds that are governed by their own laws. Among the lush nature, fancifully bent branches and enigmatic compositions made of stone, we can see creatures who, despite being suspended in time, are not free from the universal desires and aspirations common for the whole human race. What prompts the artist to create these amazing worlds and creatures that live in them? Tomasz Alen Kopera talks about his inspirations, motivation and fascination with nature.<\/p>\n

Nina Kinitz: Although you graduated from the Wroc\u0142aw University of Technology with the title of civil engineer, you decided to professionally follow your artistic passion. At what point did you become interested in art?<\/strong><\/p>\n

Tomasz Alen Kopera:<\/strong> My adventure with art began in my childhood. Ever since I remember, I always liked to draw and paint. And although my education went in a completely different direction, art and creation of art have accompanied me throughout my whole life.<\/p>\n

NK: And at what moment did you take the artistic pseudonym “Alen”?<\/strong><\/p>\n

TAK:<\/strong> Actually, I do not know exactly when it happened. At the beginning of high school, my friends started calling me Alen, and so it stayed.<\/p>\n

NK: The protagonist of most of your paintings is a man or a creature who reminds of a man. Is the process of painting a way for you to better understand the human psyche or resolve moral dilemmas?<\/strong><\/p>\n

TAK:<\/strong> No, nothing like that. These are clear visions, I do not even try to think about their meaning, although it can be difficult, because interpretations sometimes do impose themselves naturally. Then the questions arise: what can this mean, can the viewer understand it, and many other doubts. I reject them, because I want the painting to remain a vision that is free of any associations, which can evolve in any way.<\/p>\n

NK: Many artists create paintings, through which they want to give the viewer some truth about the world or present their interpretation of reality. Others, in turn, aim to fascinate the viewer with the world they create. How is it in your case?<\/strong><\/p>\n

TAK:<\/strong> I certainly do not try to communicate anything. I just paint my worlds. And what people will see in them is their own interpretation. For me, the most important thing is that the painting “does work”. I am happy when I can create a piece that evokes some kind of emotions in the viewer.<\/p>\n

NK: So what does painting mean for you then?<\/strong><\/p>\n

TAK:<\/strong> It is for me the meaning of life, an inner need, without which I cannot exist. Of course, it is also my source of income, which I am really grateful for.<\/p>\n

NK: Let\u2019s return to your paintings. In addition to the mysterious creature carved out of wood or stone, the elements of the natural world, such as branches, leaves or boughs covered with moss, often appear on your canvases. What fascinates you most in nature?<\/strong><\/p>\n

TAK:<\/strong> I take the most satisfaction from painting various forms and structures: mosses, lichens, roots, rock elements, embers and fire. Clouds, especially storm clouds, are also extremely fascinating. The content itself is a secondary matter to me.<\/p>\n

NK: Is nature actually the greatest source of inspiration for you?<\/strong><\/p>\n

TAK:<\/strong> Yes, the natural world is an inspiration for me \u2013 trees, for example, or rather their branches bent in an interesting way, overgrown with mosses and other lichens. I draw inspiration also from rock structures – all kinds of cracks, corrosion and manifestations of destruction and disintegration. There is something that fascinates me in it.<\/p>\n

NK: Inspirations of the natural world are clearly visible in your works. Some people, however, see in them references to other artists’ paintings. Do you draw inspiration from works of art?<\/strong><\/p>\n

TAK: <\/strong>Not really. I admire the works of other artists, but they are not the source of my inspiration, at least not on the conscious level.<\/p>\n

NK: In addition to the figure of a man and elements from the world of nature, your paintings draw attention to a mysterious, dark aura. Does it symbolize the dark side of the human psyche? Or is it irrelevant to human and is only a part of the visual language with which you build your fantastic worlds? Which thesis is true?<\/strong><\/p>\n

TAK: <\/strong>I think both of them are true. The human psyche is extremely mysterious. My way of painting, however, also results from the aesthetics. I’ve always liked dark, fantasy and spooky movies and stories. I also like to listen to this kind of music – songs that are melancholic and beautiful at the same time. Listening to them introduces me to a specific and difficult to describe mood. I think it all adds up to my visual language, often in a completely unintended way. Sometimes I’m surprised that the painting I see as cheerful is, in the opinion of other people, dark or even frightening.<\/p>\n

NK: In one of the interviews, you mentioned that your creative interests also include sculpture. Are there any other areas in which you would like to pursue?<\/strong><\/p>\n

TAK: <\/strong>Yes, I’m interested in cinema. I think I could create surreal animated, puppet movies. They would be completely “crazy” and probably incomprehensible to anyone. But just like in the case of paintings, it would not be about the understanding of them.<\/p>\n

How do ancient worlds arise?<\/strong><\/p>\n

The unreal landscapes of Tomasz Alena Kopera catch the eye with a suggestive vision of alternative worlds, in which lush nature also acts as a scenery and a material for building the fantastic creatures. The clarity of the creatures suspended in space and the diversity of structures that build the imaginary lands is the result of the combination of the artist’s rich imagination with the perfect mastery of the painter’s workmanship and skills. Not without reason, Tomasz Alen Kopera was invited to the international group – Libellule, founded by Luk\u00e1\u0161 K\u00e1ndl – one of the most important representatives of magical realism in France. The creators associated with it set themselves the goal to prove that there is still art in the 21st century that is distinguished by technical virtuosity. A great example of this are the works of Tomasz Kopera. His paintings are often the result of many months of work, during which the concept of works evolves, escaping the assumptions made earlier, but still all the paintings combine perfect mastering of the workmanship. What determines the final product of the work? And what tools allow for the transfer of the artists vision onto the canvas? To get answers to these and other questions, let’s give voice to the artist.<\/p>\n

The creation process at a glance<\/strong><\/p>\n

When painting, I rarely use the same pattern of operation. My way of creating depends to a large extent on the subject. I often implement quick and fairly general ideas on a computer using graphics programs. Thanks to this, I can easily apply changes, which greatly speeds up the whole process. Sometimes at this stage I also use photography or 3D models.<\/p>\n

I paint them in layers. Most often I start my work with a quick and general pencil sketch, however sometimes I skip this step. Then I paint the first layer – very general. Usually, though not always, I use only one colour – burned umber. Later, by applying successive layers, the painting gains more and more contrasts. I build them, starting from the darkest ones and ending with the brightest areas, adding more colours and details in the meantime. Finishing of details is the last stage of creation. I do it using very thin brushes. This is how my creation process looks in chronological order. In the meantime, however, I also introduce many changes and alterations, especially in the early stages of painting. Sometimes I also use glaze on a partial area or apply it on the entire surface of the painting.<\/p>\n

I hate restrictions<\/strong><\/p>\n

During creation, I do not implement consistently the once-realized vision. Very often, the initial concept of a painting evolves. Sometimes these are small modifications, for example the changes of the type of structures. I’m painting a stone figure, which I decide to remake on wood. But it also happens that there is very little left of the initial vision. I do not like to stick to this initial idea. This puts restrictions on me that I hate. It is also the reason why I do not undertake commissioned work.<\/p>\n

Structures inspired by paint<\/strong><\/p>\n

Do I like to experiment? I think so. I say “I think” because I do not know if these are experiments or just the integral stage of creation process. Usually, it concerns the initial phase of painting, in which I unknowingly smudge strongly diluted paint, and then I look for interesting forms and structures that are created in this way.<\/p>\n

I usually paint with oil paints. I mostly choose a canvas, but sometimes I decide to create on a board. I use linseed oil and Liquin Original. I do not use any non-standard tools. I use soft and flat synthetic brushes in sizes from 22 to 2. Very thin, round brushes allow me to paint details.<\/p>\n

The painting process takes a long time, sometimes even several months. I usually create several paintings at the same time. This is due to the need to wait for one coat of paint to dry out before applying the next one. Sometimes, however, I just feel that I need to rest from one subject, so I take a break and focus on another painting. When the work is finished I give it a number consisting of a letter and a digit. It replaces the title and helps me to catalogue my paintings.<\/p>\n

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\"Arteclat\"W 27 wydaniu magazynu \u201eArtysta i sztuka\u201d ukaza\u0142 si\u0119 obszerny artyku\u0142 – wywiad z Tomaszem Alenem Koper\u0105. Archiwalny egzemplarz jest wci\u0105\u017c dost\u0119pny na stronie wydawnictwa, zam\u00f3wi\u0107 go mo\u017cna klikaj\u0105c tutaj<\/a>.<\/p>\n

Dzi\u0119ki uprzejmo\u015bci Pana Tomasza Muellera oraz Pani Niny Kinitz z czasopisma \u201eArtysta i sztuka\u201d mamy przyjemno\u015b\u0107 podzieli\u0107 si\u0119 z Pa\u0144stwem tym przepi\u0119knym wywiadem. Zapraszamy do lektury.<\/p>\n

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Maluj\u0119 swoje \u015bwiaty<\/strong><\/h1>\n

Rozmawia:<\/strong> Nina Kinitz<\/h4>\n

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Jest artyst\u0105, kt\u00f3ry nie uznaje \u017cadnych ogranicze\u0144 zwi\u0105zanych z tworzeniem, dlatego zrezygnowa\u0142 z realizowania zlece\u0144. Od wielu lat pozostaje wierny estetyce surrealizmu i realizmu magicznego, lecz nie przeszkadza mu to wcale w rozwijaniu unikalnego stylu, kt\u00f3rego znakiem rozpoznawczym jest warsztatowa maestria. Prace Tomasza Alena Kopery oddzia\u0142uj\u0105 na wyobra\u017ani\u0119 odbiorc\u00f3w z ca\u0142ego \u015bwiata, cho\u0107 sam artysta odcina si\u0119 od pr\u00f3b ich interpretowania. Zobaczmy, w jaki spos\u00f3b powstaj\u0105 jego fantastyczne dzie\u0142a.<\/p>\n

W tw\u00f3rczo\u015bci Tomasza Alena Kopery dominuj\u0105c\u0105 rol\u0119 odgrywa \u015bwiat przyrody, z kt\u00f3rego wy\u0142aniaj\u0105 si\u0119 kamienne i drewniane postaci. Cho\u0107 ich cia\u0142a s\u0105 omsza\u0142e, lub bezlito\u015bnie kruszej\u0105 po\u015br\u00f3d lewituj\u0105cych od\u0142amk\u00f3w kamieni, to na obliczach tych monumentalnych istot \u0142atwo dostrzec emocje bliskie ka\u017cdemu z nas. Ich obecno\u015b\u0107 akcentuje ogie\u0144, kt\u00f3ry w formie \u017caru, gor\u0105cej lawy lub p\u0142omieni przenika przez szpary wy\u017c\u0142obione w kamiennych twarzach. Czasami jego miejsce zajmuje jednak woda, kt\u00f3ra w postaci wodospadu wylewa si\u0119 poza obr\u0119b oczodo\u0142u lub pozostawia po sobie tylko rdzawe \u015blady na nadgryzionych z\u0119bem czasu policzkach. Targane emocjami postaci s\u0105 \u015bci\u015ble zespolone z natur\u0105 w uniwersalnej, ponadczasowej przestrzeni. Mistyczny charakter tego zwi\u0105zku podkre\u015bla symbolika oraz tajemnicza i nieco mroczna aura, kt\u00f3ra stanowi charakterystyczny element tw\u00f3rczo\u015bci Alena. Cho\u0107 artysta unika poddawania swoich wizji interpretacjom, trudno traktowa\u0107 je wy\u0142\u0105cznie jako wyimaginowane \u015bwiaty, kt\u00f3re rz\u0105dz\u0105 si\u0119 w\u0142asnymi prawami. Po\u015br\u00f3d bujnej przyrody, fantazyjnie powyginanych konar\u00f3w i enigmatycznych kompozycji z kamienia mo\u017cemy bowiem dostrzec istoty, kt\u00f3re \u2013 pomimo zawieszenia w czasie \u2013 nie s\u0105 wolne od uniwersalnych pragnie\u0144 i d\u0105\u017ce\u0144 charakterystycznych dla ca\u0142ego rodzaju ludzkiego. Co sk\u0142ania malarza do kreowania niesamowitych \u015bwiat\u00f3w i istot, kt\u00f3re w nich \u017cyj\u0105? O swoich inspiracjach, motywacji do tworzenia oraz fascynacji natur\u0105 opowiada Tomasz Kopera.<\/p>\n

Nina Kinitz: Cho\u0107 uko\u0144czy\u0142 Pan Politechnik\u0119 Wroc\u0142awsk\u0105 z tytu\u0142em in\u017cyniera budownictwa, finalnie postanowi\u0142 Pan realizowa\u0107 zawodowo malarsk\u0105 pasj\u0119. W kt\u00f3rym momencie zainteresowa\u0142 si\u0119 Pan sztuk\u0105?<\/strong><\/p>\n

Tomasz Alen Kopera: <\/strong>Moja przygoda ze sztuk\u0105 rozpocz\u0119\u0142a si\u0119 ju\u017c w dzieci\u0144stwie. Odk\u0105d pami\u0119tam, zawsze lubi\u0142em rysowa\u0107, a p\u00f3\u017aniej dosz\u0142o do tego tak\u017ce malowanie. I cho\u0107 moja edukacja posz\u0142a w zupe\u0142nie innym kierunku, to sztuka i jej tworzenie towarzyszy\u0142y mi przez ca\u0142e \u017cycie.<\/p>\n

NK: A w kt\u00f3rym momencie przyj\u0105\u0142 Pan pseudonim artystyczny \u201eAlen\u201d?<\/strong><\/p>\n

TAK: <\/strong>W\u0142a\u015bciwie sam dok\u0142adnie nie wiem, kiedy to nast\u0105pi\u0142o. Na pocz\u0105tku nauki w szkole \u015bredniej koledzy zacz\u0119li nazywa\u0107 mnie Alen i tak ju\u017c zosta\u0142o.<\/p>\n

NK: Bohaterem wi\u0119kszo\u015bci Pana obraz\u00f3w jest cz\u0142owiek lub istota, kt\u00f3ra go przypomina. Czy malowanie jest dla Pana sposobem na lepsze poznanie ludzkiej psychiki lub rozstrzygni\u0119cie dylemat\u00f3w moralnych?<\/strong><\/p>\n

TAK: <\/strong>Nie, nic podobnego. To s\u0105 czyste wizje, nie staram si\u0119 nawet zastanawia\u0107 nad ich znaczeniem, cho\u0107 to bywa trudne, bo czasami interpretacje same si\u0119 narzucaj\u0105. Pojawiaj\u0105 si\u0119 wtedy pytania: co to mo\u017ce znaczy\u0107, o co w tym chodzi, czy odbiorca to zrozumie oraz wiele innych w\u0105tpliwo\u015bci. Odrzucam je, poniewa\u017c chc\u0119, by obraz pozostawa\u0142 woln\u0105 od skojarze\u0144 wizj\u0105, kt\u00f3ra mo\u017ce ewoluowa\u0107 w dowolny spos\u00f3b.<\/p>\n

NK: Wielu artyst\u00f3w tworzy obrazy, poprzez kt\u00f3re chce przekaza\u0107 odbiorcom jak\u0105\u015b prawd\u0119 o \u015bwiecie lub zaprezentowa\u0107 swoj\u0105 interpretacj\u0119 rzeczywisto\u015bci. Inni z kolei stawiaj\u0105 sobie za cel zafascynowanie widza wykreowanym przez siebie \u015bwiatem. Jak jest w Pana przypadku?<\/strong><\/p>\n

TAK: <\/strong>Na pewno nie staram si\u0119 czegokolwiek przekazywa\u0107. Po prostu maluj\u0119 swoje \u015bwiaty. A co ludzie w nich zobacz\u0105, to ju\u017c jest ich sprawa. Dla mnie najwa\u017cniejsze jest, by obraz \u201edzia\u0142a\u0142\u201d. Ciesz\u0119 si\u0119, gdy uda mi si\u0119 stworzy\u0107 prac\u0119, kt\u00f3ra wzbudza w odbiorcy jakie\u015b emocje.<\/p>\n

NK: Czym jest wi\u0119c dla Pana malowanie?<\/strong><\/p>\n

TAK: <\/strong>Jest ono dla mnie sensem \u017cycia, wewn\u0119trzn\u0105 potrzeb\u0105, bez kt\u00f3rej nie mog\u0119 si\u0119 oby\u0107. Oczywi\u015bcie stanowi te\u017c dla mnie \u017ar\u00f3d\u0142o utrzymania, co uwa\u017cam za wielkie szcz\u0119\u015bcie.<\/p>\n

NK: Powr\u00f3\u0107my jeszcze do Pana obraz\u00f3w. Opr\u00f3cz tajemniczej istoty wykutej z drewna lub kamienia na p\u0142\u00f3tnach pojawiaj\u0105 si\u0119 te\u017c cz\u0119sto elementy \u015bwiata przyrody, takie jak ga\u0142\u0119zie, li\u015bcie czy zamszone konary. Co najbardziej fascynuje Pana w naturze?<\/strong><\/p>\n

TAK: <\/strong>Najwi\u0119cej satysfakcji daje mi malowanie przer\u00f3\u017cnych form i struktur: mch\u00f3w, porost\u00f3w, korzeni, element\u00f3w skalnych, \u017caru i ognia. Niezwykle fascynuj\u0105ce s\u0105 te\u017c chmury, szczeg\u00f3lnie te burzowe. Sama tre\u015b\u0107 jest dla mnie kwesti\u0105 drugorz\u0119dn\u0105.<\/p>\n

NK: Czy to w\u0142a\u015bnie natura stanowi dla Pana najwi\u0119ksze \u017ar\u00f3d\u0142o natchnienia?<\/strong><\/p>\n

TAK: <\/strong>Tak, \u015bwiat przyrody jest dla mnie inspiracj\u0105 \u2013 na przyk\u0142ad drzewa, a raczej ich konary powyginane w ciekawy spos\u00f3b, poro\u015bni\u0119te mchami oraz innymi porostami. Czerpi\u0119 natchnienie r\u00f3wnie\u017c ze struktur skalnych \u2013 wszelkiego rodzaju sp\u0119ka\u0144, korozji oraz przejaw\u00f3w destrukcji i rozpadu. Jest w tym co\u015b, co mnie fascynuje.<\/p>\n

NK: Inspiracje \u015bwiatem przyrody s\u0105 w Pana pracach wyra\u017anie widoczne. Niekt\u00f3rzy doszukuj\u0105 si\u0119 w nich jednak tak\u017ce nawi\u0105za\u0144 do obraz\u00f3w innych tw\u00f3rc\u00f3w. Czy czerpie Pan natchnienie z dzie\u0142 sztuki?<\/strong><\/p>\n

TAK: <\/strong>Raczej nie. Zachwycam si\u0119 wprawdzie pracami innych artyst\u00f3w, lecz nie s\u0105 one \u017ar\u00f3d\u0142em moich inspiracji, przynajmniej na poziomie \u015bwiadomym.<\/p>\n

NK: Opr\u00f3cz sylwetki cz\u0142owieka i element\u00f3w pochodz\u0105cych ze \u015bwiata przyrody Pana obrazy zwracaj\u0105 uwag\u0119 tajemnicz\u0105, mroczn\u0105 aur\u0105. Czy symbolizuje ona ciemn\u0105 stron\u0119 ludzkiej psychiki? A mo\u017ce jest niezale\u017cna od postaci i stanowi jedynie cz\u0119\u015b\u0107 wizualnego j\u0119zyka, za pomoc\u0105 kt\u00f3rego buduje Pan swoje fantastyczne \u015bwiaty? Kt\u00f3ra teza jest prawdziwa?<\/strong><\/p>\n

TAK: <\/strong>My\u015bl\u0119, \u017ce jedna i druga. Ludzka psychika jest przecie\u017c niezwykle tajemnicza. M\u00f3j spos\u00f3b malowania wynika jednak tak\u017ce z bliskiej mi estetyki. Od zawsze podoba\u0142y mi si\u0119 mroczne, fantastyczne, przepe\u0142nione groz\u0105 filmy oraz opowie\u015bci. Lubi\u0119 te\u017c s\u0142ucha\u0107 tego rodzaju muzyki \u2013 utwor\u00f3w, kt\u00f3re cz\u0119sto maj\u0105 w sobie co\u015b melancholijnego a zarazem pi\u0119knego. Ich s\u0142uchanie wprowadza mnie w specyficzny i trudny do opisania nastr\u00f3j. My\u015bl\u0119, \u017ce to wszystko sk\u0142ada si\u0119 na m\u00f3j wizualny j\u0119zyk, cz\u0119sto zreszt\u0105 w zupe\u0142nie niezamierzony spos\u00f3b. Czasami dziwi\u0119 si\u0119, \u017ce obraz, kt\u00f3ry odbieram jako pogodny jest zdaniem innych ludzi mroczny czy wr\u0119cz przera\u017caj\u0105cy.<\/p>\n

NK: W jednym z wywiad\u00f3w wspomina\u0142 Pan, \u017ce Pana zainteresowania tw\u00f3rcze obejmuj\u0105 r\u00f3wnie\u017c rze\u017ab\u0119. Czy istniej\u0105 tak\u017ce inne dziedziny, w kt\u00f3rych chcia\u0142by si\u0119 Pan realizowa\u0107?<\/strong><\/p>\n

TAK: <\/strong>Tak, interesuj\u0119 si\u0119 kinem. My\u015bl\u0119, \u017ce m\u00f3g\u0142bym tworzy\u0107 surrealistyczne filmy animowane, kukie\u0142kowe. By\u0142yby zupe\u0142nie \u201eodjechane\u201d i pewnie niezrozumia\u0142e dla nikogo. Ale tak jak w przypadku obraz\u00f3w, nie o zrozumienie by w nich chodzi\u0142o.<\/p>\n

Jak powstaj\u0105 pradawne krainy?<\/strong><\/p>\n

Odrealnione pejza\u017ce Tomasza Alena Kopery przykuwaj\u0105 wzrok sugestywn\u0105 wizj\u0105 alternatywnych \u015bwiat\u00f3w, w kt\u00f3rych bujna przyroda pe\u0142ni jednocze\u015bnie funkcj\u0119 scenerii oraz tworzywa buduj\u0105cego fantastyczne postaci. Wyrazisto\u015b\u0107 zawieszonych w przestrzeni istot i r\u00f3\u017cnorodno\u015b\u0107 struktur buduj\u0105cych wyimaginowane krainy to wynik po\u0142\u0105czenia bogatej wyobra\u017ani artysty z perfekcyjnym opanowaniem malarskiego warsztatu. Nie bez powodu Alen zosta\u0142 zaproszony do mi\u0119dzynarodowej grupy Libellule, za\u0142o\u017conej przez Luk\u00e1\u0161a K\u00e1ndla – jednego z najwa\u017cniejszych przedstawicieli realizmu magicznego we Francji. Zrzeszeni w niej tw\u00f3rcy postawili sobie za cel, by udowodni\u0107, \u017ce w XXI wieku nadal istnieje sztuka, kt\u00f3ra wyr\u00f3\u017cnia si\u0119 techniczn\u0105 wirtuozeri\u0105. \u015awietnym tego przyk\u0142adem s\u0105 w\u0142a\u015bnie prace Tomasza Kopery. Jego obrazy to cz\u0119sto efekt wielomiesi\u0119cznej pracy, w trakcie kt\u00f3rej koncepcja dzie\u0142 ewoluuje, wymykaj\u0105c si\u0119 poczynionym wcze\u015bniej za\u0142o\u017ceniom, lecz mimo to wszystkie obrazy \u0142\u0105czy perfekcyjne opanowanie warsztatu. Co decyduje o finalnym wygl\u0105dzie dzie\u0142a? I jakie narz\u0119dzia pozwalaj\u0105 na przeniesienie na p\u0142\u00f3tno wizji zrodzonej w wyobra\u017ani Tomasza Kopery? Aby pozna\u0107 odpowiedzi na te i inne pytania, oddajmy g\u0142os arty\u015bcie.<\/p>\n

Proces tworzenia w pigu\u0142ce<\/strong><\/p>\n

W trakcie malowania obraz\u00f3w rzadko korzystam z jednakowego schematu dzia\u0142ania. M\u00f3j spos\u00f3b tworzenia zale\u017cy w du\u017cej mierze od tematu. Cz\u0119sto realizuj\u0119 szybkie i do\u015b\u0107 og\u00f3lne za\u0142o\u017cenia na komputerze, wykorzystuj\u0105c w tym celu programy graficzne. Dzi\u0119ki temu \u0142atwo mog\u0119 nanosi\u0107 zmiany, co znacznie przyspiesza ca\u0142y proces. Czasami na tym etapie wspieram si\u0119 te\u017c fotografi\u0105 lub modelami 3D.<\/p>\n

Moje obrazy maluj\u0119 warstwowo. Najcz\u0119\u015bciej rozpoczynam prac\u0119 od wykonania szybkiego i do\u015b\u0107 pobie\u017cnego szkicu o\u0142\u00f3wkiem, czasami jednak pomijam ten etap. Nast\u0119pnie maluj\u0119 pierwsz\u0105 warstw\u0119 \u2013 bardzo og\u00f3ln\u0105. Zazwyczaj, cho\u0107 nie zawsze, u\u017cywam wtedy tylko jednego koloru, jest nim palona umbra. P\u00f3\u017aniej, poprzez nak\u0142adanie kolejnych warstw, obraz zyskuje coraz wi\u0119cej kontrast\u00f3w. Buduj\u0119 je, pocz\u0105wszy od najciemniejszych a sko\u0144czywszy na najja\u015bniejszych obszarach, dodaj\u0105c w mi\u0119dzyczasie coraz wi\u0119cej kolor\u00f3w oraz detali. Wyka\u0144czanie szczeg\u00f3\u0142\u00f3w to ostatni etap tworzenia. Wykonuj\u0119 go przy u\u017cyciu bardzo cienkich p\u0119dzelk\u00f3w. Tak wygl\u0105da m\u00f3j proces tw\u00f3rczy w uj\u0119ciu chronologicznym. W mi\u0119dzyczasie wprowadzam jednak tak\u017ce wiele zmian i przer\u00f3bek, szczeg\u00f3lnie w pocz\u0105tkowych etapach malowania. Czasami stosuj\u0119 te\u017c miejscowe laserunki lub nak\u0142adam je na ca\u0142ej powierzchni obrazu.<\/p>\n

Nie cierpi\u0119 ogranicze\u0144<\/strong><\/p>\n

Podczas tworzenia nie realizuj\u0119 konsekwentnie raz powzi\u0119tej wizji. Bardzo cz\u0119sto pocz\u0105tkowa koncepcja obrazu ewoluuje. Czasami s\u0105 to niewielkie modyfikacje, na przyk\u0142ad zmienia si\u0119 rodzaj struktury. Maluj\u0119 posta\u0107 kamienn\u0105, kt\u00f3r\u0105 decyduj\u0119 si\u0119 przerobi\u0107 na drzewn\u0105. Ale bywa i tak, \u017ce z pierwotnego za\u0142o\u017cenia pozostaje naprawd\u0119 niewiele. Nie lubi\u0119 sztywno trzyma\u0107 si\u0119 za\u0142o\u017conej koncepcji. To stawia przede mn\u0105 ograniczenia, kt\u00f3rych nie cierpi\u0119. Stanowi te\u017c pow\u00f3d, dla kt\u00f3rego nie podejmuj\u0119 si\u0119 malowania obraz\u00f3w na zlecenie.<\/p>\n

Struktury inspirowane farb\u0105<\/strong><\/p>\n

Czy lubi\u0119 eksperymentowa\u0107? Chyba tak. M\u00f3wi\u0119 \u201echyba\u201d, bo nie wiem, czy to s\u0105 eksperymenty, czy po prostu integralny etap tworzenia. Zazwyczaj dotyczy on pocz\u0105tkowej fazy malowania, w kt\u00f3rej bezwiednie rozmazuj\u0119 mocno rozcie\u0144czon\u0105 farb\u0119, a nast\u0119pnie doszukuj\u0119 si\u0119 w powsta\u0142ych w ten spos\u00f3b kszta\u0142tach ciekawych form i struktur.<\/p>\n

Najcz\u0119\u015bciej maluj\u0119 farbami olejnymi. Zwykle wybieram p\u0142\u00f3tno, czasami jednak decyduj\u0119 si\u0119 na p\u0142yt\u0119 lub desk\u0119. Z medi\u00f3w wykorzystuj\u0119 olej lniany i Liquin Original. Nie stosuj\u0119 \u017cadnych niestandardowych narz\u0119dzi. U\u017cywam mi\u0119kkich i p\u0142askich p\u0119dzli syntetycznych w rozmiarach od 22 do 2. Bardzo cienkie, okr\u0105g\u0142e p\u0119dzle umo\u017cliwiaj\u0105 mi natomiast malowanie detalu.<\/p>\n

Proces malowania trwa d\u0142ugo, nawet kilka miesi\u0119cy. Zwykle tworz\u0119 wi\u0119c kilka obraz\u00f3w jednocze\u015bnie. Wynika to z konieczno\u015bci oczekiwania na wyschni\u0119cie jednej warstwy farby przed na\u0142o\u017ceniem kolejnej. Czasami jednak po prostu czuj\u0119, \u017ce musz\u0119 odpocz\u0105\u0107 od jakiego\u015b tematu, wi\u0119c robi\u0119 sobie przerw\u0119 i skupiam si\u0119 na innym obrazie. Po zako\u0144czeniu pracy nadaj\u0119 jej numer sk\u0142adaj\u0105cy si\u0119 z litery i liczby. Zast\u0119puje on tytu\u0142 i pomaga mi katalogowa\u0107 obrazy.<\/p>\n","protected":false},"excerpt":{"rendered":"

A great article – interview with Tomasz Alen Kopera appeared in the 27th edition of the polish magazine “Artist and art” [\u201cArtysta i sztuka\u201d]. The archival copy is still available on the publisher’s website, you can order it by clicking here. Thanks to the courtesy of Mr. Tomasz Mueller and Mrs. Nina Kinitz from the […]<\/p>\n","protected":false},"author":3,"featured_media":15672,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0},"categories":[1],"tags":[],"yoast_head":"\nArteclat - Where Dreams Become Art - Interview with Tomasz Alen Kopera<\/title>\n<meta name=\"description\" content=\"Interview with Tomasz Alen Kopera. The artist talks about his inspirations, motivation and fascination with nature.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.arteclat.com\/interview-january-2019\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Arteclat - Where Dreams Become Art - Interview with Tomasz Alen Kopera\" \/>\n<meta property=\"og:description\" content=\"Interview with Tomasz Alen Kopera. The artist talks about his inspirations, motivation and fascination with nature.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.arteclat.com\/interview-january-2019\/\" \/>\n<meta property=\"og:site_name\" content=\"Art \u00c9clat - Where Dreams Become Art\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/arteclatgallery\" \/>\n<meta property=\"article:published_time\" content=\"2019-01-23T12:00:12+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-01-23T13:38:38+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.arteclat.com\/wp-content\/uploads\/2019\/01\/artysta-i-sztuka-foto-1200-e1547663003150.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"900\" \/>\n\t<meta property=\"og:image:height\" content=\"599\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Art \u00c9clat\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Art \u00c9clat\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"19 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.arteclat.com\/interview-january-2019\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.arteclat.com\/interview-january-2019\/\"},\"author\":{\"name\":\"Art \u00c9clat\",\"@id\":\"https:\/\/www.arteclat.com\/#\/schema\/person\/2f2254fe2bb218204ddb70cde95c1c87\"},\"headline\":\"Interview with Tomasz Alen Kopera – January 2019\",\"datePublished\":\"2019-01-23T12:00:12+00:00\",\"dateModified\":\"2019-01-23T13:38:38+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.arteclat.com\/interview-january-2019\/\"},\"wordCount\":3887,\"publisher\":{\"@id\":\"https:\/\/www.arteclat.com\/#organization\"},\"articleSection\":[\"News\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.arteclat.com\/interview-january-2019\/\",\"url\":\"https:\/\/www.arteclat.com\/interview-january-2019\/\",\"name\":\"Arteclat - Where Dreams Become Art - Interview with Tomasz Alen Kopera\",\"isPartOf\":{\"@id\":\"https:\/\/www.arteclat.com\/#website\"},\"datePublished\":\"2019-01-23T12:00:12+00:00\",\"dateModified\":\"2019-01-23T13:38:38+00:00\",\"description\":\"Interview with Tomasz Alen Kopera. 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