Aniela Wojdyno-Pasquini

Född 1952 i Warszawa från 1970 studerade hon vid fakulteten för skulptur på Konstakademin i Warszawa och sitt diplom arbete under ledning av prof. Zofia Demkowska och prof. Tadeusz Lodziana gjorde hon 1975.

1975-1976 Praktikperioden med studier i silversmide gjorde hon i Jerzy Szkrabkosateljé.

1976-1978 gjorde hon sin praktikperiod med studier i arketektur och design vid arkitekturateljén "Osiedle Mlodych" i Warszawa. 1989 erhöll hon stipendium från Polska konst- och kulturdepartementet och från Italienska regeringen för att studera vid konstakademin i Carrara, Italia (Accademia di Belle Arti di Carrara).

1990-1991 fick hon Konst- och Kulturdepartementets stipendiat.

Hon skulpterar i marmor, sandsten, granit, brons och terakotta liksom unika smycken i silver, samt arbetar med kroki och måleri. Hon har deltagit i tiotal inviduella, samlingsutställningar och skulptursymposier i Polen, Tyskland, Italien och Sverige.

Hennes skulpturer för offentlig utsmyckning finns i Warszawa, Ladek Zdrój, Józefow i Polen och Ängelholm i Sverige och i privata samlingar i Sverige, Polen, Tyskland, Spanien, Belgien och Italien. Hon är sedan 1991 bosatt i Stidsvig, Sverige med sin make, skulptören Antonio Pasquini. Tillsammans anordnar de utställningar, visningar i sin ateljé och symposier.

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Skulptural symbios

The year was 1989 - 200 years after the French Revolution and 100 years after the Eiffel tower!

Thanks to a scholarship polish sculptor Aniela Wojdyno had got the opportunity to study at the "Accademia di belle Arti" in the Italian maerble city of Carrara.

She had a solid education from the Academy of Arts in Warsaw, and her visit to Carrara meant a positive step in the direction of artistic maturity.

At the same time in Sweden active sculptor Antonio Pasquini was paying a visit to Carrara, the city where he was born, but had leave for England and later Sweden, it was in Carrara that his interest for the rich manifold styles of sculptural exspression was first aroused many years of hard and laborious work would see this interest develop into an increasingly sophisticated interation between surfaces, shapes and depthes, brought forth from the material.

The meeting in Carrara meant a revolution in the lives of these two artists.

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They formed an artistic and personal symbiosis, the primary basis of which was to be the studio at Stidsvig close to Helsingborg, where they now live, work and collaborate.

"The love of Aniela" and "Love story" are early examples of "the New Creation" Which this revolution has given rise to: "I saw your image and from that day I see but Thee in the universe" (Kjellgren)

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The daughter of Warsaw, the son of Carrara in close symbiosis in Stidsvig!

 


The most important thing is to touch, to love, to hope, to be shaken, to be alive.
First of all you must be a human being, secondarily an artist. This I read, in what has been referred to as the legacy og August Rodin.

On visiting the couple at Stidsvig, it occurs to me, that this is just the way Aniela and Antonio want to live. Especially in Antonio I see a wish to play an active part in organising an artistic collaboration, primarily between artists-nationally as well as internationally.

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Not only work but also collaboration is of utmost importance. Like the vast majorit of hard working, serious artists the Stidsvig couple are constrained by the economical framework, but gradually they have adjusted their environment to meet the rather specific demands of sculpturing.

The two artists work independently, but through the sympiosis they support and inspire each other.

My impression is that Antonio sees the spontaneous opportunities, offered by his material and acts accordingly, wheres Aniela seems to bide her time, slowly but surely finding her way to lasting solutions.

The individual differences seem to have a very favourable effect on the symbiosis a close association between two organisms, which in its best version is mutually benificial.

In the world of art, the constellation of live artistry, appropriate intellectual significance and reflection is a fertile one.

With their revolution Aniela Wojdyno and Antonio Pasquini seems to have reached a platform of harmony for further conquests as shown by this by this summer´s significant international symposyum of sculpture at Östra-Ljungby.

May the fine initiative result in intellectual fellowship as well as sculptural variation.

Karl-Erik Eliasson


 

It is matter of two very different temperaments. Aniela Wojdyno is the classicist who restrains her artistic form and her gestures. She is also the renaissance sculptress creating sensualism around the classic form - whereas Antonio Pasquini, in his sculptures in marble, diabase and granite, has a lot in common with artistic expression of the baroque.

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Two Temperaments

It is a matter of two very different temperaments, let alone with the same fascination for what can be achieved in granite and marble. These two temperaments can be defined in terms of Wölfflin, albeit slightly schematised.

Aniela Wojdyno is the classicist who restrains her artistic form and her gestures. Her sculptures are self-contained, introvert, often retaining the blocklike character of the rock. Her human bodies are breaking free, forcing their way out of the rock - but are at the same time bound to the material.

Her works seem to represent a symbiotic relation between nature and culture, as if the crude stone and ever urging body were necessary preconditions for one another. I see a suggestive example of this effect in her relievo, named "Sarcophagus". What we can distinguish from the figures is the classical line. There is a sober and slightly intellectual touch about the plastic bodies, a formalism - remarkable in its purity.


Also sensual

But Wojdyno is also the renaissance who creates sensualism around the classical form. An atmosphere of restraint and contemplation is to be found in a collection of water-colour landscape. The coloures blend into each other, dreamingly, diffusely, on their way to dissolve the concrete motif. But the abstraction is nerver carried to its full extreme, but stops at the point where the ambience of serene melancholy captures the spectator.

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When it comes to artistic expression Wojdyno is thus much freer in her paintings than in her sculptures, thereby pointing to the freedom of association, characteristic of the works of Antonio Pasquini.


The artistic expression of the baroque

Pasquini´s sculptures in marble, diabase and granite, have a lot in common with the artistic expression of the baroque. Unlike Aniela Wojdyno, Pasquini is often abstract, using an organic composition, reminding of that of Jean Asp. In sprite of their massive shape, his works often abolish their own physical limitations and continue into the room. He has also distanced himself from the frontal apptoach, which is so essential in the works of Wojdyno. Pasquini shape all the side of his sculptures.

There is a continuous, ongoing interaction - necessary for the dynamic effect between convex and concave patterns, between finished and surfaces, between light and darkness. The free and sensual form breaks every restriction of associations. Pasquini lays foundation for the free experience, in that his sculptures continually recreate themselves thrugh the unfinished movement that the directions suggest.

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The flight of fancy

The strong sensualism, in physical as well as in a spirtual, that permeates his sculptural works also rouses the unbridled imagination - vigorously thwarting every effort to define it. The space sorrounding Pasquini´s works becomes part of the model. Only occasionally is the flight of fancy brought, so as to be captured in a body of harmony and lucid form, as in the sculpture: The Precious Woman".

 
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As a pictorial artist he is as associative but less abstract. Even if I can discern a landscape of steppe in a number of paintings, the colour serves as flight and movement, like the form does in sculpture. In his gouaches he is as a rule restrained, even though the colour is vital and rich in subtle distinctions. It is only in his painting that he steps up the tempo and the dynamics.

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Flexible

Without losing control of his compositions Pasquini displays a fleibility in his oil paintings that by far surpasses that of the sculptor. His experiences from the three-dimensional medium recur in these paintings; he builds up his figures from behind a colour scheme, which otherwise would have turned expressionistic, and a motif that would have remained abstract.

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Aniela Wojdyno and Antonio Pasquini may start out from differents temperaments artistically, but that does not necessarily lead to an opposition. It rather gives you an opportunity for an odyssey through the history of art - in the idyllic surroundings of Stidsvig, just by the road to Örkelljunga.

Jonas Ström


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