Artist Highlight: Magdalena Abakanowicz

Magdalena Abakanowicz, a Polish artist born in 1930, experienced the harrowing impact of World War II firsthand. The invasion of German troops in Poland not only subjected her family to displacement but also resulted in her mother being shot and injured. This turbulent upbringing led Abakanowicz to seek solace in art, eventually leading her to study at the Academy of Fine Arts in Warsaw after her family fled to a small town near Gdansk to escape Communist persecution.

Despite her resistance to conforming to the official artistic style of Socialist Realism, Abakanowicz managed to secure her membership in the Polish Artists' Union, a prerequisite for pursuing a career as an artist at that time. In the mid-1950s, her dissatisfaction with working as a tie designer in a silk factory pushed her to explore larger-scale artistic endeavors. Initially, she created intricate drawings that gradually took over her modest attic room. Her artistic journey then evolved as she transitioned from drawing on paper to experimenting with linen sheets, eventually acquiring the skill of weaving and even building her own loom. This newfound passion for fiber art led her to create remarkable, amorphous woven forms she aptly named "abakans," cleverly incorporating her own name into the title.

80 BACKS
1976-80, burlap and resin
life size h. 61-69 cm; depth 50-56 cm; width 55-66 cm
collection: Museum of Modern Art, Pusan, South Korea

In the early 1970s, Abakanowicz took another significant artistic leap by introducing the human figure into her sculptures, still utilizing fiber as her primary material. She skillfully molded burlap and glue around plaster casts of human body fragments, resulting in a profound series of works known as Seated Figures 1974-79 and Backs 1976-1981. These sculptures, with their textured surfaces and fragmentary forms, evoke a sense of introspection and solitude.

Cage 1981 by Magdalena Abakanowicz
Burlap, glue, and wood
66 x 46 x 61 in. (167.6 x 116.8 x 155 cm)
Gift of Ralph I. and Helyn D. Goldenberg
collection: MCA - Museum of Contemporary Art, Chicago, IL

One such notable piece is "Cage" from 1981. In this artwork, Abakanowicz masterfully combines a figural form with a rough-hewn wooden enclosure. The life-size figure, comprised of slumped shoulders, a rounded back, and truncated limbs, appears fragmented when viewed from certain angles, almost resembling an empty shell.

The burlap, textured and molded from plaster casts, contributes to the weathered appearance, with ridges and puckered areas reminiscent of aged or damaged skin. The figure's fragmentary form, weathered aesthetics, and slumped posture collectively convey a profound sense of inwardness and isolation. 

Surrounding the figure, Abakanowicz constructs a wooden structure with crude joinery, featuring vertical supports, horizontal logs, and diagonal poles. This enclosure partially obstructs the observer's view of the figure from every perspective, emphasizing a sense of distance and containment. The contrasting shapes of the figure and the rigid geometric structure further underscore the juxtaposition between organic forms and man-made constructions.

Abakanowicz's deliberate use of organic materials, shaped and glued together, in both the figure and the structure, highlights her commitment to simplicity and raw expression. By presenting her figures in fragmentary form, she deliberately avoids specific cultural or racial designations, allowing her art to resonate universally.

If you seek inspiration from Magdalena's works and history, consider exploring the utilization of feelings and effectively communicating specific moods through your own artworks. One suggestion is to incorporate meaningful natural or found objects into your sculptures or drawings, each carrying its own symbolism. Reflect on why certain objects hold different meanings for different individuals, and use this insight to create something deeply personal and meaningful to you. Inadvertently, such a creation may evoke powerful emotions and convey a distinct mood to those who encounter it.

Magdalena Abakanowicz's artistic journey serves as a testament to the power of personal experiences and emotions in artistic expression. Through her own struggles and resilience, she found a voice that transcended cultural boundaries and touched the human spirit.

By immersing yourself in Abakanowicz's works, you can gain valuable insights into the transformative potential of art. Consider the emotions and moods evoked by her sculptures and the ways in which she effectively communicates them. Observe how she combines materials, textures, and forms to create a visceral experience for the viewer.

To apply these principles to your own art, take the time to reflect on your own emotions and the messages you wish to convey. Explore the significance of natural or found objects that hold personal meaning for you. Each object can become a symbolic element within your artwork, carrying its own story and triggering emotional responses in the audience.

Remember that art is subjective, and different people may interpret your work in various ways. Embrace this diversity of perspectives and the potential for your art to resonate with individuals on a deeply personal level. Allow your creations to be a reflection of your inner world, expressing your unique voice and vision.

As you embark on your artistic journey, let Magdalena Abakanowicz's story inspire you to explore the depths of your own experiences and emotions. Through the intentional use of materials, symbols, and personal expression, you have the power to create art that not only speaks to your own soul but also connects with others in profound and meaningful ways.

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Magdalena Abakanowicz

SPACE OF BECALMED BEINGS

1992/1993, bronze
40 figures from the cycle "BACKS"
each ca  90 x 63 x 80 cm
Collection: Hiroshima  City  Museum  of  Contemporary Art, Hiroshima, Japan