Kornel Zezula

(1991)

© Damian Noszkowicz

“I paint the light that comes from all bodies. "- Egon Schiele

© Damian Noszkowicz

Kornel Zezula was born in 1991 in Wroclaw where he studied Fine Arts. A childhood nurtured by a Francophile culture forged the dream of an artist's life in Paris, immersed in the richness of all dimensions of culture. In Bourges then at the Ecole des Beaux-Arts in Paris where he was admitted by competition, Kornel Zezula began to transform the dream into an artistic journey that asserted itself and stood out.
Painting is his language; for the artist it is the language of the unspeakable of emotions. Because that is precisely what interests Kornel Zezula: what does the other person he meets feel, what is his story? He paints this other, tirelessly, in search of these fleeting and elusive emotions, always plural, paradoxical and contradictory, sometimes familiar or even foreign. The artist does not know. he paints. And understand after the fact. This is the strength of painting. He paints like a filmmaker: he places the frame, the light, and captures a close-up scene on a body, a face - always a meeting - an ephemeral expression in the course of a story, a fragment of 'to be in the moment which contains all the vertigo of a past and a possible future.

If the painting may seem realistic, the gesture remains spontaneous, intuitive, in a form of sensuality that allows the fluidity of the oil. The artist "thinks through painting" and "feels what he is painting". Impregnated with readings, a character from Gombrowicz's novel, Camus's description of the light of Oran, and so many other subterranean and intangible references as so many pictorial evocations. For Kornel Zezula, figuration should not be a confinement in realism. It is a reference to the reality which finds its depth in the narration, the symbolism and the signifying power. The concern not to "complete" the work is a way of avoiding demonstrative representation. The painting must remain a living material open to the novel that everyone will make of it. The work does not offer a truth but a mystery. The faces are never unequivocal. The aesthetic significance that Kornel Zezula gives to his representations is not an aestheticism that encloses a value judgment but the search, by an esthete, for beauty coming from the intimate gravity of emotions. The skin tones, the limited range of colors, the lighting, a search for transparency, a dialectic of unveiling: in this aesthetic quest for interiority, the veil intuitively drapes faces with its sensuality. The painting does not show, it suggests this unspeakable to which Man, this speaking being, is paradoxically and irreducibly confronted.

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