On the threshold of infinity 2017

Curator: We’re standing in front of a series of paintings by Andrzej Nowacki, created in 2017 and collectively titled "On the Threshold of Infinity." They are examples of geometric abstraction, executed with acrylic paint. Editor: My first thought is that the artist creates almost meditative visual spaces. There's something very ordered, even ritualistic, about the repeated geometric forms. The lines almost hum. Curator: I think you've hit on something essential. Considering Nowacki's broader body of work, one could read these repeated geometric forms as exploring the limitations and constructed nature of perception itself. His works encourage a dialogue about our imposed cognitive frameworks. Editor: I see the square within a square, a consistent element through many of the works in this room. The square, throughout history, has represented order, stability, and even the earthly realm, so the multiple squares feel like an ordering, but perhaps even a restrictive ordering. It does invite questions about constraints. Curator: And consider the subtle gradations of color. What could this symbolize for different marginalized groups, the ways we're all slotted into arbitrary categories that shift depending on circumstance or the dominant culture? How might viewers from diverse backgrounds perceive that geometry? Editor: Interesting. Thinking iconographically, the gradations bring to mind a subtle, almost subliminal spiritual ascent. Colors blending into one another can be seen to symbolize a harmonious blend or balance, potentially echoing the alchemical symbolism of transformation or transcendence. Curator: Transformation resonates with me strongly here. These geometric landscapes, seemingly static at first glance, actually speak volumes about shifting identities, about power dynamics within seemingly immutable systems, even about visibility within society. Editor: Yes, and by that reading, the "infinity" in the title takes on multiple meanings: not just literal boundlessness but an ongoing infinite potential for reinterpretation and change, a theme ever-present in cultural memory, isn't it? Curator: Indeed. Looking at this minimalist composition through an intersectional lens shows us just how maximal its potential truly is. Editor: And to think, such depth springing from shapes so basic to human understanding of space. A reminder that complex ideas can be elegantly and compellingly articulated.