Franek Wardyński Tinted lines

Franek Wardyński
Tinted lines 
28–29 November 2018,
Wednesday from 6-8pm, Thursday from 1-8pm
Franek Wardynski - Tinted Lines - Galerie 102
Franek Wardyński Tinted lines
For his first solo exhibition in Germany, the London based Polish artist Franek Wardyński born 1989, presents Tinted Lines, as a development of research and techniques explored during the first ever live-in Art in residence program at // GALERIE 102, under the direction of Annemarie Laber. 
When cultural shifts happen, modern architecture is often a strong source of criticism and commentary, formulated through provoking concepts that tell a story of a place. Materials and structures are, in fact, often a medium for expressing profundities, as Berlin’s cityscape reminds us. As a great mode of drama, buildings reveal a story of comedy and tragedy, openness and fear.
As formulated by architect Arthur Korn in his1926s book Glass: ‘The transparent glass tower symbolized the clear and uncomplicated future; it was an icon for the beneficent triumph of modern technology,’ he describes how glass became the emblem of democracy in Germany. However, what exactly do we mean by transparency today? In a time where we are increasingly living and working in glass cities, the outlook on glass in architecture has become rather different. How will the events of privacy affect the citizens positioning on the material—and will another cultural shift make the reversed criticism and commentary?
The work of Wardyński sits between art and design, repeatedly exploring projects of cultural criticism, making a constant contribution to the movement of print, moving image and sculpture. His approach to research and methodology is investigative, resulting in critical outputs of text, reproductions, prints, collages, video and large-scale objects. The prints featured in Tinted Lines explore meanings of glass and exposure, a result of looking at glass in Berlin architecture through the lens of 19th-century photography technique, blue cyanotype.
By sourcing glass from the neighbouring car glass exchange firm, Carglass, Wardyński has configured reclaimed glass-scapes using broken car windows, light and photosensitive material.
In a pursuit of asking questions around transparency, Wardyński shows an interpretation of vulnerability through waste-glass compositions. Just like the architects were prototyping glass facades when the material was first introduced, Wardyński is reflecting on where personal exposure begins and ends? A reminder to revisit the 1921 novel We, Yevgeny Zamyatin’s critique of an imaginary future totalitarian society, echoed in buildings where ‘the individual will is suppressed in favour of a collective technological dream.’
Tinted Lines highlights the exposing nature of glass, using the sun and photographic emulsion as a brush-stroke, revealing permanent marks created through transparency.
Text: Lia Forslund

Franek Wardyński (b. 1989) is a multidisciplinary artist and a lecturer at the Royal College of Art London, Central Saint Martins and Chelsea College of Art, where he teaches Critical Practice, Visual Communication and Graphic Design.
Wardyński’s work sits between art and design, developing projects of cultural criticism, themed around Archives of Future Memories, Cannibalism of Culture, Matters of Translation and Creative Survival. He explores these concepts through challenging the boundaries between craft and digital production, using a diverse range of me- dia as well as printmaking and sculpture. With an interest in the transformation of ideas, Wardyński’s practice is both independent and collaborative, seeking to actively involve collaborators in an on-going realisation of ideas.
His work has been exhibited worldwide such as the Eduard Malingue Gallery, Hong Kong, Art Dubai at Madinat Jumeirah, Convex Warehouse, Kyoto, SW1 Gallery, London and TR Warszawa, Warsaw.
Educated at Central Saint Martins and the Royal College of Art, Wardyński founded his own studio in 2015. Specialising in designing narratives, his work incorporates research, visual creations and installation for muse- ums, non-profit organisations, galleries, operas, educational institutions and publishers. He has, for instance, designed over twenty books, installed neons in a bar, created a digital platform for a school and designed visuals for an opera.
Horizontal—Vertical, Art Safientale Biennale, Safiental, 2018.
Living in Hyperreality, FaB 1, Fringe Arts Bath Festival, Bath, 2018.
Chelsea#6, Triangle Gallery, London, 2018.
B.Y.O.B.,, London, 2017.
RCA Secret 2017, Dyson Gallery, London, 2017.
Performance Society, The Evening Classes, London, 2017.
Language Game[s], Chelsea College of Art, London, 2017.
Practices of Enquiry, Cookhouse Gallery, Chelsea College of Art, London, 2016.
Ridley Road Records, Doomed Gallery, London, 2016.
The Air is not Visible, Royal College of Art, London, 2016.
RCA Secret Dubai, ART DUBAI MINA A’ SALAM, Dubai, 2016.
Theater SCOPE Project #03, Convex Warehouse, Kyoto, 2015.
Seascapes, Royal College of Art, London, 2015.
Show 2015, Royal College of Art, London, 2015.
Balance Sheets, Eduard Malingue Gallery, Hong Kong, 2015.
Hyperstore 2, Holdron’s Arcade, London, 2015.
Hyperstore 1, What’s Next?, London, 2015.
The Isle of Lost and Found, Hockney Gallery, Royal College of Art, London 2015.
WIP, Royal College of Art, London 2015.
Show 2, Central Saint Martins, London, 2012.
Nova Awards Show, SW1 Gallery, London, 2012.
The Third Factor, Sassoon Gallery, London, 2011.
Few and Far Between, The Rag Factory, London, 2011.
Szalony Sen Cukiernika, TR WARSZAWA, Warsaw, 2010.
//GALERIE 102, Berlin, 2018.
Alps Art Academy, Safiental, 2018.
Finalist of Nova Award, the Lowe and Partners Awards for Fresh Creative Talent. Central Saint Martins, University of the Arts London, 2012.

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