Magda Raczko urodzona 17 kwietnia 1967 r w Warszawie. Studia ukończyła w warszawskiej Akademii Sztuk Pięknych. Dyplom w 1992 roku w pracowni prof. Jana Tarasina. Aneks w
pracowni prof. Ryszarda Winiarskiego. Ukończyła również dwuletnie Studium Podyplomowe w zakresie kształcenia pedagogicznego w ASP w Warszawie. W swoim dorobku ma kilkanaście wystaw indywidualnych i kilkadziesiąt wystaw zbiorowych w kraju i za granicą. Zajmuje się malarstwem abstrakcyjnym i rysunkiem, tworzy instalacje i happeningi. Dopełnieniem twórczości malarskiej są wiersze, które nazywa ''słownymi obrazami''. Są one częścią poszukiwania harmonii pejzażu i myśli. Uczy również rysunku a zajęcia z roku na rok zyskują coraz większe grono fanów w każdym wieku.
Credo artystyczne “Wznieść się ponad siebie samego, to pokonać swoje przywiązanie do logiki, rozumu, geometrii, to pokonać swoją biologiczność, swoją pierwotność. Pokonać to nie znaczy wyrzec się, to zrozumieć odwieczne i niezbędne współistnienie, harmonię tych dwóch natur istniejących w każdym człowieku. Nie można rozdzielać świata nauki i wiary, rozumu i intuicji. W tej równowadze znajduję ufność, prawdę i miłość, moją strefę wrażliwości malarskiej.” ~ MR
Magda Raczko graduated from the Academy of Fine Arts in Warsaw. Painter, poet, performer. Participant in many individual and group exhibitions.
The paintings presented at the exhibition represent two cycles illustrating the stages in Magda Raczko’s art: “The Immaterial” (1992-2003) and “Blue space”, which she is currently working on. The titles given to the painting cycles describe their semantic meaning. These abstract works in blue tones which make up the cycles have symbolic dimensions. The form in which the artist tries to convey her consciousness reflects a return to art which poses important questions and strives to discover and portray the world of the spirit, man’s response to his fundamental needs. We are reminded here of the words of Stanisław Fijałkowski, who said: “A good picture should possess an internal, organised spirituality, which requires the responsible use of colours with all their functions and, thus, meanings.”
The blue which is Magda Raczko’s medium occupies a precise position in the range of symbolic colours. Since the Middle Ages it has been associated with transcendental meaning and metaphysics – the sphere of God. In terms of psychology, its impact is coupled with concentration of thought, melancholy, peace and contemplation. “Deep blue draws a man into infinity, awakening in him a desire for purity and metaphysical needs. It is the colour of sky and immediately comes to mind when we hear the word sky. If we wish to symbolize different types of blue musically, we could say that light blue brings to mind a flute, dark blue a cello, and even deeper blue has the low tones of the double-bass. When blue takes its most serious and solemn hue it is comparable with the deepest tone of the organ.” W. Kandinsky.
The artist’s paintings unite space and light, intensifying then diminishing, which permeate space with their luminosity. The space and light emanating from the colours belong to the sacred sphere as opposed to the physical aspect of painting. They impress the audience with their emotional load, transporting them to an intangible distance and provoking contemplation. This art is a continuous struggle with the material world to attain the world of ideas, which is sometimes suggested by the titles (triptych: Faith, Hope, Love). It is a vital anti-reaction to the phenomenon described by Zbigniew Herbert: “Outstanding modern art favours chaos, it gesticulates in the emptiness and tells the story of its own barren soul”.
Although Magda Raczko mainly expresses herself through painting, her poetry has greatly contributed to her interpretation of the world.
Magda Raczko’s painting and poetry complement each other through antagonistic means of expression. Her painting strives to break out of the physical world and to attain the universe of super-material, while her poetry is in opposition to the abstract. It does not exist without calling to specific places, sounds and scents. This specificity, coming from the deep consciousness of contact with the visible and palpable world, makes the poems of Magdalena Raczko close to Japanese haiku, in both form and substance. It is a participation in life which is hardly definable, but it is not a purpose in itself. According to Zen, a poet is like “an eye which can see but cannot see itself”. The author’s presence is very discrete: she neither evaluates nor assesses but simply savours the “infinity discovered within the limits of a definite thing” (H.W. Blythe). If poetry had not offered such opportunities she would have probably chosen landscape painting as her medium. Therefore, although her poetry and painting, when considered separately, represent separate and complete values, only when united do they convey the artist’s full message.
tekst - Roman Postek
tłumaczenie - Inga Raczko-Runkiewicz
Credo artystyczne “Wznieść się ponad siebie samego, to pokonać swoje przywiązanie do logiki, rozumu, geometrii, to pokonać swoją biologiczność, swoją pierwotność. Pokonać to nie znaczy wyrzec się, to zrozumieć odwieczne i niezbędne współistnienie, harmonię tych dwóch natur istniejących w każdym człowieku. Nie można rozdzielać świata nauki i wiary, rozumu i intuicji. W tej równowadze znajduję ufność, prawdę i miłość, moją strefę wrażliwości malarskiej.” ~ MR
Magda Raczko graduated from the Academy of Fine Arts in Warsaw. Painter, poet, performer. Participant in many individual and group exhibitions.
The paintings presented at the exhibition represent two cycles illustrating the stages in Magda Raczko’s art: “The Immaterial” (1992-2003) and “Blue space”, which she is currently working on. The titles given to the painting cycles describe their semantic meaning. These abstract works in blue tones which make up the cycles have symbolic dimensions. The form in which the artist tries to convey her consciousness reflects a return to art which poses important questions and strives to discover and portray the world of the spirit, man’s response to his fundamental needs. We are reminded here of the words of Stanisław Fijałkowski, who said: “A good picture should possess an internal, organised spirituality, which requires the responsible use of colours with all their functions and, thus, meanings.”
The blue which is Magda Raczko’s medium occupies a precise position in the range of symbolic colours. Since the Middle Ages it has been associated with transcendental meaning and metaphysics – the sphere of God. In terms of psychology, its impact is coupled with concentration of thought, melancholy, peace and contemplation. “Deep blue draws a man into infinity, awakening in him a desire for purity and metaphysical needs. It is the colour of sky and immediately comes to mind when we hear the word sky. If we wish to symbolize different types of blue musically, we could say that light blue brings to mind a flute, dark blue a cello, and even deeper blue has the low tones of the double-bass. When blue takes its most serious and solemn hue it is comparable with the deepest tone of the organ.” W. Kandinsky.
The artist’s paintings unite space and light, intensifying then diminishing, which permeate space with their luminosity. The space and light emanating from the colours belong to the sacred sphere as opposed to the physical aspect of painting. They impress the audience with their emotional load, transporting them to an intangible distance and provoking contemplation. This art is a continuous struggle with the material world to attain the world of ideas, which is sometimes suggested by the titles (triptych: Faith, Hope, Love). It is a vital anti-reaction to the phenomenon described by Zbigniew Herbert: “Outstanding modern art favours chaos, it gesticulates in the emptiness and tells the story of its own barren soul”.
Although Magda Raczko mainly expresses herself through painting, her poetry has greatly contributed to her interpretation of the world.
Magda Raczko’s painting and poetry complement each other through antagonistic means of expression. Her painting strives to break out of the physical world and to attain the universe of super-material, while her poetry is in opposition to the abstract. It does not exist without calling to specific places, sounds and scents. This specificity, coming from the deep consciousness of contact with the visible and palpable world, makes the poems of Magdalena Raczko close to Japanese haiku, in both form and substance. It is a participation in life which is hardly definable, but it is not a purpose in itself. According to Zen, a poet is like “an eye which can see but cannot see itself”. The author’s presence is very discrete: she neither evaluates nor assesses but simply savours the “infinity discovered within the limits of a definite thing” (H.W. Blythe). If poetry had not offered such opportunities she would have probably chosen landscape painting as her medium. Therefore, although her poetry and painting, when considered separately, represent separate and complete values, only when united do they convey the artist’s full message.
tekst - Roman Postek
tłumaczenie - Inga Raczko-Runkiewicz