In Michal Rejner’s artistic practice the combination of aesthetic quality of easel painting and street art experience is of fundamental importance.
The artist tries to highlight the qualities of spontaneous painting gesture, create tension between figurative and abstract forms, building space of deep emotions in the relationship between the work of art and its audience.
Street art, treated as a tool for direct interpersonal visual communication, has the courage and inner energy. It originates from a desire for spontaneous expression and carries an element of rebellion and social commentary. At its source lies the heartbeat of cities, constant countercultural readiness to carefully register the surrounding world and a desire for an authentic need for an immediate creative reaction to everyday observations and experiences. The artist is also accompanied by practices similar to site-specific mindfulness. Close to the artist’s heart is also the idea of individuality of works resulting directly from the nature of inspiration coming from a specific place, whose identity is included in the creative process.
Undoubtedly street art has an element of something frantic, elusive, always open to change and interpretation. These values are what inspires the artist. The tradition of easel painting gives the works a lyrical distinctive character, softness, reflective exploration of the universe and human experiences.
The idea of an artist is to create his own, bold, cliché-free symbolism and iconography, which is open and interpretive bearing, often based on intuitive choices, always ready to negotiate meanings and be complemented by the recipient’s imagination and experience. Social topics are often the starting point of artistic reflection.
Technological progress hasn’t eliminated the problem of exclusion, racial intolerance, loss of dignity by an individual, economic inequalities, homelessness or loneliness. These are current topics regardless of latitude. One of the aims of painterly expression is the need to identify and extract the above-mentioned problems from the ‘invisibility zone.’ Part of the creative attitude and project carried out by the artist is the desire to present those works on all continents. This action, an idea of movement and connection, is to specify and close the cycle of images symbolically.
With the aim of strengthening the overtones of the works, the artist reaches for diverse media and techniques. He uses the precision of oil painting, matte effects of a flat acrylic color spot, elements of non-finite aesthetics. He uses traditional canvas or chooses non-standard, individual and unique materials- plastic, raw, reclaimed wood, metal. He applies equally the value of the plane and evocative style of the installation art. These means used deliberately and with purpose, give the displayed motifs ambiguous character.
The artist incorporates the theory of unbiased eye and postmodernist openness to visual stimuli as well as information ones, which unexpectedly, impulsively and intuitively penetrate the realm of imagination. Sometimes, even unintentionally, they can become a material of art and starting point for artistic experiments. Michal Rejner treats openness to experimental workshop practices and readiness to seize sudden inspiration as essential elements of artistic practice.
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