Discover the contemporary work of ADAM NIDZGORSKI

ADAM NIDZGORSKI

Cormeilles in Parisis 1933

Of Polish ancestry, Adam NUDZGORSKI was born in in France, in 1933.

Having, à At the end of his studies he obtained a scholarship, he left for Warsaw (Poland) in 1951 where he worked. he lived until 1956, contributing to the introduce judo. On this date, he returned to France, but in February 1957, he reached Tunisia where he arrived. he became a professor of physical education at the Higher School of Physical Education of Tunis. It was in 1963, encouraged by by a friend of the fine arts that he begins to draw and painting for himself first and completely self-taught. He uses gouache, Indian ink, colored pencils and works in a different way. This time on paper as well as on less conventional supports such as matchboxes. He will participate in his first collective exhibition at Paris Tunis in 1965. In 1967, he returned to Paris and worked with the Concordance group.

It was during the inauguration of the DUBUFFET Foundation that Adam NIDZGORSKI met Alain PAUZIE. He advises him to contact Gérard SENDREY. In September 1992, he was invited to &àgrave; the collective exhibition of the gardeners of memory, then, in September 1994, at a paired exhibition with Raymond REYNAUD.

Since then, multiple exhibitions, both collective and personal, have paid tribute to him and his work is permanently featured on the Site de la Creation Franche in Paris. Bègles, at the museum of modern art of Villeneuve d’Ascq (donation l’Aracine), at the museum of Navarrafrom Pamplona and to that ofArté Singularà Altéa, as well as numerous special collections.

“It’s the human being that interests me the most, he is multiple, we can represent him in different ways and that in different ways. infinity. It’s something inexhaustible, there are so many doubts, pains, desires, hopes, it’s crazy. We will never be able to exhaust it entirely from its birth until the end of its life. his death. How many times has it been performed? He is sometimes a sad, pensive, beautiful, ugly, mediocre being, but always full of love for himself»writes Adam NIDZGORSKI.

Obviously, it’s representing the human being, sometimes solitary, often in couples or families, sometimes in larger groups, that this autodidact devotes the entirety of his work to his work. of his work.

In colored pencil, Indian ink, gouache, acrylic; on Chinese papers, a sheet of notebook, metro tickets, newspaper and even on fabrics; tracing, painting, outlining, cutting and pasting, assembling and sewing what he calls “his textile paintings”, Adam NIDZGORSKI, painter, dancer, Yogi gave himself to tirelessly generate a people of small, round-eyed characters whose main occupation seems to be to suddenly abandon all activity. and camp there, paralyzed like the frightened Arthur RIMBAUD.

staring at you.»

They are there, haggard, contorted, mute, coming from who knows where, fearfully gathered at the edge of the sheet of paper or camped right in the middle, risking themselves in solitary or crowding one behind the other in the agglutinate of a community. doleful and composed, arms dangling at their sides, some rising on tiptoe to better look over their neighbor's shoulder. Others, smaller, less skilled or more clever, frame themselves between the legs of the previous ones in the hope of a leading aim, with wide eyes and lips. closed. They do not stretch out their hands, do not beg for any alms or show any hostility, do not ostensibly testify to any particular misery, do not implore or beg. NO, they simply look.

And, inevitably, this stubborn look ends up disturbing us. What do they have to offer? look at us like that? What do they want from us? Apparently nothing.

They look at us to look. But don't worry, you won't fear anything. You have nothing to worry about. blame you!

In fact, you were just passing by and, mechanically, you took a look.

They were tinkering in their corner, busy at work. mend some dark brocade …

A look a little too strong; from you and, suddenly, everything stops. Seen! They saw you see them. It moved, everything stopped. They raise their heads, some stand up, move forward, others follow. You try to look away. But it’s too late, it’s up to now. Now they are looking at you, they press against each other and stare at you fixedly until you see them. so that, as discomfort came, you felt obliged to lower your eyelids.

, not on purpose. For a long time, without needing to turn around, you know, they are there. stubborn, stubborn watching you again and again ….

Rather than BRUT, the genre of authors with which it has sometimes been assimilated, we should say that Adam NIDZGORSKI is tender, gentle and polite as is said of the eponymous stone, that who is opposed to the other, the cut. And if his characters their crestfallen expression, with their“touching aspect of fortuitousness’ resigned » sometimes have the sad smile of Chaissaquian figures, it is that Adam NIDZGORSKI, seized by a doubt at the height of his work, sometimes prays to Paul KLEE and Gaston CHAISSAC for good want to help him to extend the line.

(After Alain BOUILLET: The fragile power of Adam NIDZGOSKI Cannes-et-clairan, editions Encre et Lumiere, September 2004)