Tomasz Vetulani Quotes
born 1965 Poland
Tomasz Jerzy Vetulani (born 21 December 1965) is a Polish painter, drawer and sculptor active in Utrecht and Kraków.
Random Tomasz Vetulani quote
11 quotes
Art is just like the languages that people use: each one opens up different possibilities, different layers of sensitivity and expression.
In Poland, many doctors would not undertake euthanasia due to religious beliefs. The Dutch are more pragmatic, and death is not a great taboo for them, but part of the natural order of things.
I would feel unhappy in a country with whose law and morals I disagree.
I began drawing when I was one and a half years old. I never stopped.
I am fascinated by the fear of terrorism in Poland, when people die on the roads every day – and every year there are thousands of people who lose their lives in a very stupid way.
In the Low Countries, people are met with indifference, which is the consequence of the assumption that everyone is responsible for their fate. Everyone keeps their own views, but there is no attempt to impose them on others.
The illusionary nature of a two dimensional work of art can sometimes frustrate my creative process. I overcome this by stepping out of the flat illusion into the three dimensional and create sculptures of wood and bronze.
I was recognizable in Kraków because of my family. I felt it as a burden. I tried to cut myself off from the past and build something myself. To become independent.
Vetulani is a rebellious artist: when we admire beautiful faces, forms, wide-framed Dutch landscapes, he says "and now for something you haven’t expected." The spectator is awakened from a reverie and confronted with an object of mysterious ugliness, like silicone heads of the pope.
I have a need to create works that are not just shocking, or say: striking, smashing – but also such works that can become companions of my various life events, and become companions of other people in their situations. These are the works that I create from the deep need to communicate with my sense and my ideal of beauty.
He deliberately rejects the classic beauty of the form for the sake of fragility, transience or simply greater sensitivity to what is present. His work has a mockery and ironic character. He looks critically and with great apprehension at Poland, he does it from the perspective of an emigrant, from culturally and socially different Netherlands, which became a new homeland for him.