Flights, No Flights / Janusz Owsiany

An interview conducted by Magda Chylak before the exhibition

Do you remember that moment in your life when you realised that this

When I was about 12 years old, I came across an art textbook that featured a reproduction of Veit Stoss’s altarpiece. It was that image that sparked the idea in me that I would one day become a sculptor.

Do you remember your first sculpture?

My earliest attempts as a child and teenager were small sculptures carved from linden wood, which I created guided more by intuition than by skill. Today, I look back on them with a touch of nostalgia and a smile on my face.

  The themes of your works are usually "open" and universal, leaving plenty of room for the imagination. What motifs and symbols resonate with you enough to explore them creatively?

A recurring theme in my work is the human being. The human being as a pilgrim, as a seeker, contemplating the meaning of their existence in the world, journeying through both the real and metaphysical realms. Also, as a being connected to nature, yet distinct from it. Another theme is nature, the natural world, its beauty and magic. I feel that such broad, undefined themes allow for freer movement within means of expression—ones that are non-literal, unfinished. And thus, ones in which the viewer, the audience, can fill in their own meaning.

 The motif of the pilgrim appears in your work as a universal symbol of a person’s journey through life. Could you elaborate on this topic and tell us more about it?

I’ve created an entire series of works that I’ve titled “Pilgrims.” These are contemporary wood sculptures that symbolise, as you said, the human journey—understood in the broadest sense. A journey not only through life, but also through the questions one asks oneself and through one’s own personal growth.

Generally speaking, my creative inspiration stems from the theme of humanity and its age-old questions about the meaning of existence and the struggle with transience. I have also created other series related to these themes, such as “Woman and Man,” “Sculpted by Fire,” “Echo,” “Prehistory,”   “Winged,” and “I Am.”

The exhibition you are currently presenting is titled “Flights and No Flights.”

The exhibition draws on the nature that surrounds us, which is why birds inspired it. Of course, another theme that had to be included is human movement through the world, traversing immeasurable distances while being aware of the limitations inherent in human existence and the short time allotted to us for this journey.

 Thus, birds in flight, with their carefree lightness, and humans, weighed down by the eternal burden of conscious existence, will coexist in this presentation.

  You work with various materials. Do you adapt the material to the theme of the work, or is it sometimes the case that the material, due to its properties, suggests the theme in accordance with the saying thatSculpture a14>its properties suggests the theme, in accordance with the saying thatthe sculpture is already hidden within it; one need only remove the unnecessary layer?

You are right to point out that the material itself often inspires the theme. Every piece of material that finds its way into my studio is, in a sense, given a second chance at life. Among other things, old ploughshares—which once tilled the soil and were eventually discarded as scrap—change shape and form in my hands, taking on a new form and meaning.

Sometimes, when I’m looking for an idea, a piece of material suggests it to me on its own. Sometimes an element prompts the thought of consciously incorporating chance into art. Ploughshares are a great example. In Spain, on the island of Majorca, I created the work “The Winged Man” from the “Pilgrims” series, made of plowshares, where chance itself became an integral part of the creative process.

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Black oak is an exceptional sculpting material. What makes it so special?

Black oak, also known as “Polish ebony,” is a type of wood found in swamps and floodplains. Its age is estimated to range from several hundred to several thousand years. The longer it lies submerged in water, the darker the oak becomes. The oldest black oaks range in color from deep blue to gray when the wood is younger. Before work can begin on this exceptionally difficult material, the wood must “age” for about 10 years in sand to achieve the proper properties. Thus, the choice of this particular material is no accident. Black oak already carries the weight of time; it has its own history, an underlying message embedded in the material, complemented by artistic thought and concept. The character of the oak closely correlates with the artist’s message. It is, therefore, a very conscious choice.

Speaking of wood, your unique technique is “carving with fire.” What does that involve?

The wood is taken to the forge, where its surface is carefully treated with hot coals and a blowtorch. This creates a unique texture on the wood. When combined with forged metal, the wood creates a striking contrast, in which the warmth of the fire-treated wood enhances the effect of the metal—and vice versa.

I understand that all these techniques can be found in the works featured in the current exhibition?

Yes, visitors will be able to see both black oak and fire-carved wooden elements, as well as a white sandstone sculpture and smaller works in wrought iron.  Human figures rendered in a schematic, almost abstract form, accompanied by birds, crafted from various sculptural materials.

 In your opinion, how important is the material to creative expression?

 One could say that this is fundamental. A prime example is the black oak mentioned earlier, whose character and time-consuming processing are closely linked to the concept behind the work. It is a material imbued with the message of time. It vividly symbolises it. Sandstone, with its hygroscopic structure and varying grain size, when worked with a chisel, offers a full spectrum of textures, from raw roughness to subtle smoothness. By combining stone with metal, wood, or glass, one can achieve a wide variety of effects.

Each of these materials speaks its own language of matter.

How do your interactions with people influence your work?

Art camps, symposia, and creative gatherings are probably the most important events for me—they provide a space for an intense exchange of ideas and artistic experiences, for drawing inspiration from others’ art, and for learning from fellow artists.

I’m a bit of a pilgrim in my own right; I travel a lot around Poland and abroad.  I meet with artists from various fields, including musicians. In all those places that have borne creative fruit in the form of exhibitions and major projects, the so-called  “human factor” that fosters the artist’s development. The conditions provided there allowed for a certain comfort in creation and in daily life. Respect for the artist, for creative work, and appreciation of it are extremely important, though unfortunately, they are not always present.  

I had a wonderful time working in Spain, on Majorca, where I had two solo exhibitions; in Germany, during a metallurgy symposium, I created monumental forms 5 meters tall, each weighing several tons. I also have fond memories of Sweden in this regard, where I worked with glacial erratic boulders. Everywhere I went, people created a very supportive atmosphere, including in terms of organization, which is important for such a specialized profession as that of a sculptor.

In Chociemyśl, where you live and work, you are surrounded by a picturesque sculpture park—not just your own sculptures, which “live” among

apple trees. Tell us how this place came to be, and what it means to you and your artist friends.

While traveling to various plein air events, I came to the conclusion that the place where I live could also be used to organize such a gathering. It was 1991, and the first open plein air workshop took place, attended by artists—mainly students from Wrocław, Poznań, and Gdańsk. After some time, the workshops evolved into the International Creative Meetings—guests were invited from Ukraine, Germany, the Czech Republic, and Slovakia. These meetings continue to this day. Over the years, the artists have left behind some of their works, mostly carved in stone, as well as installations made of wood and metal. Most of them have survived and form a sculpture park so picturesque that some call it the Enchanted Garden. It is now a meeting place not only for sculptors but also for painters, musicians, writers, and poets. The park hosts open-air events, concerts, workshops, poetry evenings, as well as informal gatherings where artists can exchange experiences and enjoy each other’s company.

Thank you for the interview, and I wish you continued success in your creative work.

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