Poland
Wojciech Sadley (born 1932 in Lublin) is a Polish artist and professor at Warsaw University School of Fine Arts. Important Exhibitions: The 1st Lausanne International Tapestry Biennial, 1962; the exhibition Wall Hangings, Museum of Modern Art, New York, February 25, 1969; The 4th Lausanne International Tapestry Biennial, 1969.
Work on expressing oneself begins from work on oneself. This implies asking questions, not only ‘What?’ but also “How?” and “What for?” This implies simply learning about oneself. And continual attempts to understand the world or to come to terms with it. To gather so much experience as to grow convinced that in what we do, ‘a minimum’ may mean ‘a maximum.’ All this inner struggle - almost of us go through it - makes us mentally mature. Hence it is the most essential element of our creative development. I speak about it for two reasons: firstly, because such questions are important to all who have passed the first half of ether life; secondly, because I have always been interested in problems and forms concentrating round man and his environment, in the measurable. I search for visual solutions that could satisfy the oldest human dreams and cravings, ones that have accompanied man since time immemorial. In my own, imperfect and fragmentary manner I try to express the symbolic ‘sphere of man’, his atmosphere, his light, his trace. Strive to find a symbol embracing the idea of a man. My interests in this field are quite broad, though I do not divide them into disciplines or genres. I acknowledges the indivisibility of man and his has shaped my attitude towards the subject.
The starting point of my own work is always nature and its structures; their elastic unchangeability logic and simplicity stimulate and control my imagination. What interests me in all things, those natural and those man-made, is their construction and its link with the code of form and color.
I am interested and even fascinated by man’s closest contact with the fabric which he wears, touches and needs for everyday and gala occasions. This fabric is his other skin, covering him from his birth until his death; it absorbs his sin and his virtue.
My compositions are figures bearing their own names. The names I give them hint at the same time at the sources of inspiration; they are, so to say, a mental abbreviation of the subject and the path that leads to it. Hence they are not an indifferent play on words but rather a clue. I make my compositions myself and apart from the immaterial message of fabric, I try-in physical terms- first to understand and the rationally to explain its material meaning.
