Irek Kielczyk

Irek Kielczyk

* 1967 in Warsaw, Poland

Immigrated to South Africa in 1990, Irek Kielczyk got to know the photography by private studies. In Cape Town he worked as an assistant for Bruce Weber. In the middle of the 90ies he returned to Poland, where from then on he took pictures for several fashion magazines. Because of the conversion to digital photography, Kielczyk’s methods and themes’ selection changed. Fashion and portrait shoots were detached by a new interest for pictorial language. Since then Kielczyk focalises on forms and colour. As many photographers, who represented youth and fashion culture in the 90ies, Kielczyk, Wolfgang Tillmann and others nowadays try to mediate a pictorial appreciation disconnected from the object. Due to an excessively long illumination and the camera’s shaking and moving during the exposure the objects and figures start to transform. Trees mutate into vertical blades, an illuminated frosted glass appears as waving, red hair and dancing women change into coloured bright whirls. It is about dematerialisation and abstraction of shapes and landscapes with help of the camera, which is not visible to the naked eye.


    • Organic Abstract 01
    • Organic Abstract 02
    • Organic Abstract 03

    Organic Abstracts

    Kielczyk’s seascapes and lake scenes in their vague colour process are reminiscent of Gerhard Richter’s photo-realistic, fuzzy paintings. If we turn back in art history we even can experience a connection with William Turner’s impressionistic landscapes, whose aim it was, “to paint what he saw and not what he knew” (Wolfgang Ullrich: Die Geschichte der Unschärfe, Berlin 2003, p. 64). In this series Irek Kielczyk creates painterly images rather than classic photographs. The main motifs are details of the natural world ,converted to make them look surreal . It is fascinating how a piece of a blooming tree or a frozen lake surface, photographed in a specific way, can be turned into an amazing and unique image. These photographs seem to be alive and watching them every time we see something new.