Upon shaping his own unique distinctive painting style, the artist has
pedantically laid patches on a field of painting which are rather homogeneous (for painting), large and flat, contrasting and juxtaposed on the plane. He acts in a manner which many a time brought poster to mind.
For many years Fałat was a painter with photographic vision. He anchored his technique in conditions imposed by photography. He drew inspiration from old photos. His painting bears the burden of photographic literalism, it is loaded with its artificiality and indifference, and in extreme cases, with deprivation.
Sensuality of these women borders on their frigidity. Their gestures and looks are strictly conservative, access to depth is limited. Nevertheless, they show some character. Jaded, compelling, complicated, unfathomable, seductive, predatory, often empty-headed or vain or seemingly calm and gentle, other times going through some trauma, pain or disappointment maintaining half contact with the world in a blissful or disturbing lethargy or limbo pretending not to be caught red-handed by us in the painting. A viewer is a voyeur, commits an indiscretion. Close contact is being established, no context is needed any more. Numerous femmes fatales, defenceless angels (frequently accompanied by horned animals), she-devils, perhaps the woman-unicorn too – despite contemporary costumes, are archetypal. They are accompanied by internal tension, expression of alienation, as well as threat hanging in the air, though tranquility, even peculiar muffling and harmony of portrayals suggest something completely different.
Galeria Bardzo Biała exhibits numerous newest paintings by Antoni Fałat depicting precisely women. They are powerful.
Curator of the exhibition