Collection Artur Majka

Artur Majka is a Polish-French artist living in Paris. He designed the Métroanonymus collection, inspired by his own drawing, paintings and spatial constructions.

The artist must master his tool completely.

Ojio Yūshō

Métroanonymus by Artur Majka

At the beginning there were big forms. Sculptures or rather spatial constructions. Placed in a natural landscape, they formed a whole with it. Sometimes, similarly to the art of David Serra or Sam Francis, they were a unique way of seeing the whole – artistic and natural. Made of steel, sullied with rust, raw, figurative in their form, they grow into the classic scheme of nature: sky-earth and just like the unclear humanoid creature in the Baselitz’ painting, they encroach upon the dimensional art-like crystal-clear field of grass.

And then, the big spatial forms suddenly shrunk, and they were hung on a chain, covered in gold or silver, this miniature form resulting in a completely different world of art, known as jewelry.

He called it Métroanonymus. Because in Artur Majka’s world, Paris underground is a source of everything. Almost from the very beginning, from the moment he moved to Paris, he used to sit in the cars of the underground train and observe people. He watched them, their gestures, behavior. And then he quickly sketched their figures on a lose sheet of paper, a bistro napkin or in a notebook. At the beginning, he did nothing with those sketches. He just noted with a pencil, crayon or a maker. And he collected them for himself. He saw the people in the underground through his strong, linear strokes. He gave them a kind of a soul, according to an eternal principle: “create a harmony between the ink, the brush and the paper”. The silhouettes of people observed in the underground formed a collection, a set of Artur Majka’s travelers. Someone is reading a newspaper, someone else is watching straight ahead, another person is falling asleep. The figures are well defined but with a casual air to it, without paying attention to the final form. They are rather sketched, barely started because Majka consciously made them into a symbolic signs of unending travels.

The miniatures appeared at the very end. At this also is a journey made by Artur Majka. And just as the aforementioned big sculptures, they also are spatial, cut in the metal. But they are cut very subtly and because of that, they are exceptionally light, which gives an impression that they combine drawing, expression and space, and at the same time, remind us of strong ties of the artist with the brush and paper.

Tomasz Rudomino, Paris august 2018