The choice of geometrical abstraction as an area of artistic activity often confines an artist to calculated speculations , to limited forms and means of expression. A creator becomes interested only in pure form where the signs of absolute ideal beauty derived from "flat" geometry are to control chaos and express the universal laws and relations. Taking up studies on forms and colour relations, it is difficult to get rid of intellectual stiffness, but at the same time it is not easy to exclude entirely the emotional factor from the act of creation.

Gabryela Nawrot's artistic development is an example of a very personal solution to such a dilemma, an individual attempt to "tame" geometrical abstraction. The artist has been devoted to this trend since she graduated from PWSSP /The State High School of Fine Arts/ in Łódź. Her numerous works are logical constructions, clearly arranged images with surfaces of pure colour. Undoubtedly they represent the tendency of moderation, order and asceticism, in many cases, however, they confirm lack of rigourism and stability, an aversion to monotony.

The artist's works include mostly those made by means of her own, mixed techniques, with various tools.

Since the beginning Gabryela Nawrot has not limited herself to arranging the surface only to meet the requirements of frontal observation. She contradicts the flat forms to sculpture-like constructions to achieve an effect of an interesting contrast.

The relief forms are created by thickly woven wool, string, pieces of leather. It is a result of constant presence of the idea of "fabric" in the artist's creation - this physical one and this hidden, non-literal one. In the early works - big abstract compositions, the colourful geometrical forms were formed by sticking the rows of woolen thread onto canvas. The use of various materials and textural differentiation of surface emphasizes the relationships between the background and an "object" on the surface. Both here, and in numerous later works, it is texture which intensifies the impression of space and depth, especially when the figures composed of the sets of lines (most frequently diagonal), coming from all directions, converge, merge with each other, penetrating the depth of apparent space of a picture.

The compositions have no organic character, they are mostly calculated and geometrical. Yet the group of monochromatic, white or black, relief structures which were created due to the prints of string shapes reminds us of the traces of organic forms, preserved by plaster casts or in other artificial material. Different variations of these reliefs, arranged one by one, form more complicated compositions with subtle tone differentiation . The adjoining fragments of the whole composition are turned against one another by the multiplied right angle. A varied arrangement of the lines of string prints and different effects of light and shade evoke the impression of multiplied shades of white or black.

Depending on the assumed scale, these images may cause various associations: from topographical references (ravines, canyons, fields) to biological ones (primitive forms of life).

These connotations, probably not deliberate ones, undoubtedly come from the structural system of composition and from the presence of the elements of automatism in the artist's works. Structure is one of the key issues she is concerned with.

In the works of Gabryela Nawrot multiplication of the line forms contributing to bigger surface is an attempt to penetrate the world of the basic elements of a fabric. The rows of thread stuck onto the surface of canvas or the negative prints of a string are like a microscope multiplication of fibres in their linear course. This group also includes a series of colourful linocuts where the rows of lines which form the basic structures of composition , overlapping one another in different configurations, not only mark the limits of the component forms but also the limits of "free" territory annexed by a "vagabond" (as it takes a different position in the subsequent graphics) black triangle, forming a clear counterpoint to sparse spheres of "fibres".

This tendency is easily observed in the works in which we may easily recognize the images of enlargement of transverse sections of fibres. In the series of linocuts printed from a few matrices, similar to rasters, the surfaces are built of modules, circular cells - molecules. Duplication of a molecule is regular, molecules are arranged in distinct, well-ordered files.

Being connected with geometrical abstraction the authoress experiments with new possibilities of shaping, is influenced by new inspiration. It is attractive as the linocut technique makes the multiple use of the same matrix possible. At last a given formal problem may be examined many times in deliberately differentiated conditions in which it may occur.

In her graphics the artist introduces the motives of subtle rhythm and movement. A series of works which consist of the same forms has been created. Those, colour-differentiated in the subsequent prints (though still in the scope of the defined colour harmony) are additionally turned round, moved or even turned against one another forming variations of the whole, made up of the same elements. These particular devices differentiate shape and "texture" of basic modules and their sets. The subsequent compositions make the next attempts possible. In this way simple arrangements of forms provide the observer with a variety of links and complications. The works which undergo the process of these specific distortions evoke the impression of rhythm disturbance, vibrations, pulsing of the surface. We face a particular type of decorativeness where the traditional ornament is replaced with variations of colourful surfaces, spectrum of tones intensified by contrasts and rhythmic texture of modular form.

When several such works are juxtaposed, the simultaneous identity and differentiation of forms raises the questions concerning the margin of freedom of expression where, like in rigourism of geometrical abstraction, a simple and unambiguous message could be expected. The tendency to differentiate and complicate forms goes with the multitude of techniques which the artist uses in her creation. Therefore her works are often difficult to be definitely classified.

Among the compositions in which still reflections of molecules - cells appear, there are pastel paintings enriched with pencil drawing, sometimes composed of a few layers put one by one, which look like collage patches. The artist uses simultaneously crayon and oil-based pastels, arranges mat and shiny surfaces enriching the texture and intensifying light and shade effect.

They are probably pastels and mixed techniques where the artist indulges in going away from the restrictions of geometry. Linocuts, due to various arrangements of matrices made numerous solutions possible. And here Gabryela Nawrot is also willing to experiment with new ideas, is inclined to unexpected changes. The rigid constructions are lightened with subtle shades of colours to get closer to more lyrical poetic. The use of new tool makes form and colour equal.

Simultaneously these works are most allusive, although they still reflect the elements of the real world by means of the basic factors of abstraction. Moje pory roku (My Seasons of the Year) are the drawings full of discipline, also in terms of colour palette. Horizontally composed, inspired mainly by seaside landscapes, they reflect colours typical of some places and the specific mood of a given season of the year. Peace of these delicate compositions is disturbed by subtle interference of lengthened triangle or spindle shapes dynamizing the creation, diagonally crossing the "landscape"; as well as wavy lines associated with the thread of Indian summer or suggesting a snowstorm.

One of the works, a pastel on a fabric, envisages the next stage of Gabryela Nawrot artistic way - looking for new means of expression in the batik technique. As we found out, coming up with "pure" unique fabric was inevitable (we use a term "pure" in inverted commas as most batiks of the artist are defined as paintings). It was conceived by the first works made from wool fibres, fragments of string, leather, as well as by the automatic structural considerations and even by some titles of the early works, such as Kanwa (Canvas), Krata (The Grate).

As in the case of pastels on paper, batik is not treated by the artist in accordance with the sacred tradition. She just uses the properties of another technique which let her see in a new way the issues she was concerned with before. In batik on a fabric she develops some themes from the area of her artistic contestation. The artist does not yield to temptation of reconstructing or imitating the compositions typical of the countries of the East: India, China, Indonesian islands - Java or Bali. At the same time in batik she quits rigid geometry. She links its tranquillity and rationality with more spontaneous decorativeness. Yet it is not the decorativeness of the oriental type. The traditional ornament is just replaced with the combinations of colourful surfaces which undergo the process of value differentiation and rhythmicizing. Being still with abstraction, she introduces more movement into her composition, she disturbs statics of the arrangements, to a larger extent changes the shapes and textures of the elements of her work.

A big degree of accidentality is natural for batik. It tempts and helps experiments. Thus Gabryela Nawrot uses all the power of this technique. Her fabrics, after covering the chosen parts of the surface with wax, are repeatedly dyed according to the assumed colour composition. The final result is also connected with thickness and texture of the fabric itself; its natural properties become an element of a work. The artist takes advantage of the fact that dye is absorbed in a different way by different fabrics. She creates batiks which are close to paintings on canvas (or they remind us of massive - produced overprint) and those where the image layer structurally links with the fabric, having a supernatural character. Then it is interesting to juxtapose works with the same figural and colour motives yet made in different material.

Being aware of the potential lying in the choice of the components of the covering substance, she properly selects the proportions of wax and paraffin, influencing the later textural or colour effects. Most of the works follow the dictates of the technique and the rejecting properties of wax are controlled, yet sometimes colour harmony obtained happens to be a surprise. Even the white of a fabric, despite careful waxing, changes its character under the influence of multi - dyeing. The wax which is not entirely removed is the source of additional effects in the form of specific shininess and transparency of some parts of a fabric. The real value of a composition may be discovered only after the use of the back controlling light, lightening this original kind of a "stained glass" made of fabric.

There are new motives in batiks: rectangles, triangles, lines, arrangements of oval modules. However, they are less constrained in their form. Some of them are even not clearly drawn but printed by means of a stamp with a great risk of some printing defects. Some of the compositions (e.i. those with the overlapping triangles ) remind us of the earlier works: images made of wool or linocuts with "a vagabond triangle", where figures were composed of the sequence of parallel lines. In batik the form is often characterized in a less systematic way. In a given work compositional dominants - triangles - are covered by a kind of free use of a tjanting (the basic tool used in batik to draw patterns in wax on a fabric).

Some of the works are warmed up by new circular rhythms Bizancjum I-III (Byzantium I-III). Circles and parts of circles are focused in some selected areas of the composition converging and absorbing one another. They point out new trends of tension - rising or falling down the line of an arch. More vivid and sound accents are sometimes moderated by a net of horizontal and vertical lines, put on coloured, lightened surfaces.

Yet like in pastels the basic elements which dynamize the composition are lines and diagonal forms (in this function: borders, rectangles, triangles, spindle shapes) which separate from the frames of a picture and cross the surface or penetrate the other parts of the composition.

Some of the works are characterized by greater freedom of gesture, discretion in the use of brushes and tjantings of different sizes. Like in the early pastels , these works are most allusive. They show inspiration by a given landscape (the Warta river) and they preserve the properties of some observed real objects. The disturbances of the works' rhythm: irritations, cracks take the properties of the intended message; these elements, entering the frame of a picture, evoke the impression that the composition has not been closed, the device often used by the artist. They may also be a reflection of ontological approach which means that there exist both the elements ordering the structure of the world and those responsible for incoherence and lack of balance. The man who, using the forms of abstract geometry, wishes to control the existential anxiety and to tame reality, indirectly becomes the object of reflection. As a creator and an imitator, most often not deliberately, the man sometimes causes various disturbances and disharmony.

Dariusz Leśnikowski