Emma Andijewska Catalogue
Emma Andijewska’s fairy-tale world of painting has one awe-inspiring particularity, it seems immediately familiar, as it harking back to childhood. Our consciousness is imbued with images and some fantastically diverse realities. This multifariousness includes various experiences and knowledge, which were achieved and are retained in our subconscious. Still, there is some hazard in the inevitable and conscious application of such experience by the artist who appeals to active visual participation, a space for a peril of being refused by the public almost immediately.
The experience at the end of the 20th century provokes the creation of customary indefinite association chains in the postmodern design, which define each new appearance as something familiar, like physically and intellectually noticed adoption. Everything has a designation corresponding to the structure of the inner world of the viewer. For each one relatively faultless but not free from bias, which determines each new appearance of art
Emma Andijewska’s fairy-tale world of painting has one awe-inspiring particularity, it seems immediately familiar, as it harking back to childhood. Our consciousness is imbued with images and some fantastically diverse realities. This multifariousness includes various experiences and knowledge, which were achieved and are retained in our subconscious. Still, there is some hazard in the inevitable and conscious application of such experience by the artist who appeals to active visual participation, a space for a peril of being refused by the public almost immediately.
The experience at the end of the 20th century provokes the creation of customary indefinite association chains in the postmodern design, which define each new appearance as something familiar, like physically and intellectually noticed adoption. Everything has a designation corresponding to the structure of the inner world of the viewer. For each one relatively faultless but not free from bias, which determines each new appearance of art
Emma Andijewska’s fairy-tale world of painting has one awe-inspiring particularity, it seems immediately familiar, as it harking back to childhood. Our consciousness is imbued with images and some fantastically diverse realities. This multifariousness includes various experiences and knowledge, which were achieved and are retained in our subconscious. Still, there is some hazard in the inevitable and conscious application of such experience by the artist who appeals to active visual participation, a space for a peril of being refused by the public almost immediately.
The experience at the end of the 20th century provokes the creation of customary indefinite association chains in the postmodern design, which define each new appearance as something familiar, like physically and intellectually noticed adoption. Everything has a designation corresponding to the structure of the inner world of the viewer. For each one relatively faultless but not free from bias, which determines each new appearance of art