copper drawings oil glass paintings iron sculptures,my creative work encompasses design, drawing, painting, iron objects, and iron sculptures. This page contains interesting topics in painting drawings iron sculptures that are unconventionally represented in geometric circle segments and person symbol Chivalrous, with bowed head he kneels before his beloved, who majestically accepts the homage, graceful and with a proudly swollen chest, another walks ahead of the man, who follows behind her back at a respectful distance, smaller in size. Whether captured on canvas or formed in iron sculptures, the figures of the sculptor Edmund Golawski convey the inexhaustible spectrum. Neither dramatic nor pathetic, they stand in space; gentle inclinations, careful bends to the side are enough to clearly grasp situations and make feelings tangible. Unusually from a masculine perspective, Edmund Golawski often places the male part in the background, clearly definable in angular and angled ways. The female form with its artistically designed individual character stands out and determines the action. A polarity, the dominance of the feminine, becomes noticeable, a tension arises and pushes for discharge. The interlocking interaction of the figures seems almost dance-like, light and playful. The recurring round of erotic weaving, the still unburdened tender flirtation, the eternal spectrum of human emotions determines Golawski's own mood, which he sensitively transfers to his iron men and graffiti-like sprayed canvas pictures. In the constant search Human relationships, especially gender-specific expressions such as love, affection and rejection, become the focus of his artistic statements. The stone symbolism, comparable to blocks cast in concrete, is increasingly lost in favor of open, clear lines, soft floral forms and moving silhouette figures. While in his early work the head as the seat of individuality was not pronounced in his pictures, but only became significant in master-slave functions, his people now receive head symbols and gender characteristics. In his graphics, geometric circle segments, angle sections and parallel lines support the psychological aspects that he assigns to his human symbols as his own experiences. The heavy, often oppressive colors have given way to a noticeably positive new orientation; Golawski also brings liveliness to the picture through his variable figure symbolism. Human relationships, especially gender-specific expressions such as love, affection and rejection, become the focus of his artistic statements. The stone symbolism, comparable to blocks cast in concrete, is increasingly lost in favor of open, clear lines, soft floral forms and moving silhouette figures. While in his early work the head as the seat of individuality was not pronounced in his pictures, but only became significant in master-slave functions, his people now receive head symbols and gender characteristics. In his graphics, geometric circular segments, angle sections and parallel lines support the psychological aspects that he assigns to his human symbols as his own experiences. Seekers of meaning modern art in Wolfegg (detail) Perfectly adapted to the lawns of the Hofgarten, Golawski, who lives in Nuremberg, invites you to take a walk between the objects. Golawski shows abstracted, reduced-form iron figures of impressive lightness. Two-dimensional people, placed individually or in groups, symbolize the inexhaustible variety of human relationships in an astonishingly simple way. Schw bische Zeitung. In his works, Edmund Golawski used heavy colors to bring a rigid symbolism to canvas that represents a reappraisal. Viewers of these works are confronted with impressions of his past: the loss of the individuality of the individual in society; Golawski's rigid ideology comes to the fore here. Chivalrous, with bowed head he kneels before his beloved, who majestically accepts the homage, graceful and with a proudly swollen chest, another walks ahead of the man, who follows behind her back at a respectful distance, smaller in size. Whether captured on canvas or formed in iron sculptures, the figures of the sculptor Edmund Golawski convey the inexhaustible spectrum. Neither dramatic nor pathetic, they stand in space; gentle inclinations, careful bends to the side are enough to clearly grasp situations and make feelings tangible. Unusually from a masculine perspective, Edmund Golawski often places the male part in the background, clearly definable in angular and angled ways. The female form with its artistically designed individual character stands out and determines the action. A polarity, the dominance of the feminine, becomes noticeable, a tension arises and pushes for discharge. The interlocking interaction of the figures seems almost dance-like, light and playful. The recurring round of erotic weaving, the still unburdened tender flirtation, the eternal spectrum of human emotions determines Golawski's own mood, which he sensitively transfers to his iron men and graffiti-like sprayed canvas pictures. In the constant search Human relationships, especially gender-specific expressions such as love, affection and rejection, become the focus of his artistic statements. The stone symbolism, comparable to blocks cast in concrete, is increasingly lost in favor of open, clear lines, soft floral forms and moving silhouette figures. While in his early work the head as the seat of individuality was not pronounced in his pictures, but only became significant in master-slave functions, his people now receive head symbols and gender characteristics. In his graphics, geometric circle segments, angle sections and parallel lines support the psychological aspects that he assigns to his human symbols as his own experiences. The heavy, often oppressive colors have given way to a noticeably positive new orientation; Golawski also brings liveliness to the picture through his variable figure symbolism. Human relationships, especially gender-specific expressions such as love, affection and rejection, become the focus of his artistic statements. The stone symbolism, comparable to blocks cast in concrete, is increasingly lost in favor of open, clear lines, soft floral forms and moving silhouette figures. While in his early work the head as the seat of individuality was not pronounced in his pictures, but only became significant in master-slave functions, his people now receive head symbols and gender characteristics. In his graphics, geometric circular segments, angle sections and parallel lines support the psychological aspects that he assigns to his human symbols as his own experiences. Seekers of meaning modern art in Wolfegg (detail) Perfectly adapted to the lawns of the Hofgarten, Golawski, who lives in Nuremberg, invites you to take a walk between the objects. Golawski shows abstracted, reduced-form iron figures of impressive lightness. Two-dimensional people, placed individually or in groups, symbolize the inexhaustible variety of human relationships in an astonishingly simple way.Schwebische Zeitung. In his works, Edmund Golawski used heavy colors to bring a rigid symbolism to canvas that represents a reappraisal. Viewers of these works are confronted with impressions of his past: the loss of the individuality of the individual in society; Golawski's rigid ideology comes to the fore here. Chivalrous, with bowed head he kneels before his beloved, who majestically accepts the homage, graceful and with a proudly swollen chest, another walks ahead of the man, who follows behind her back at a respectful distance, smaller in size. Whether captured on canvas or formed in iron sculptures, the figures of the sculptor Edmund Golawski convey the inexhaustible spectrum. Neither dramatic nor pathetic, they stand in space; gentle inclinations, careful bends to the side are enough to clearly grasp situations and make feelings tangible. Unusually from a masculine perspective, Edmund Golawski often places the male part in the background, clearly definable in angular and angled ways. The true name of art is "soul." It is not the person who paints; the artist's spirit is guided by their soul. For me, the painting reveals the inner being of every artist, for whom the world around them is not so important, their body is not important; only their dreams and their artistic soul matter, and these must be protected at all costsThe definition states: “…art can help reveal and process emotions by creating spaces for expression and interpretation…” End of quote. Both images meet this condition. Despite the fact that the artist used two different techniques, colors and shapes, both paintings represent the same thing: people as existential forms in reality as it is. They differ only in content, the image below is the reality as the artist saw it many years ago. A world ruled by great people, but whose greatness was measured not by material value, but by the wisdom of the spirit. That's why she was always at the forefront with the people and the world below her, what is important, that space between them was of course open, only apparently, fools never, lest they go there and wander in their own little worlds. It's as if the artist who painted it wanted to say/scream to the world with this painting: "LOOK WHERE I'M GOING!!!" and anyone who could interpret it was one of those he followed along the way would encounter above, and anyone who didn't read the picture was the aforementioned fool who has no aim. In a way the modern painting shows the road as years and heading towards the mountain, it is also a magnifying glass approach to what is in the fog closer to the mountain in the old painting, as if the artist was shouting that this is the road very long and difficult, full of various traps that the Lord sets over everything and anything called TIME.
