In paintings from Stefan Gierowski's first figurative creative stage one can notice traces of
a post-cubist rhythmisation of a form and simplifications borrowed from the naïve art. Around
1957 the artist stepped into non-figurative painting which became his main area of interest.
He started painting abstract compositions in which the intellectual factor manifesting itself
in a clear composition was dominated by emotions. Already at that time his paintings included
an announcement of the issues related to light space and movement which eventually reigned
in his practice. Around 1960 Gierowski's works started demonstrating an inclination towards a
geometric structuring of paintings. The artist was gradually discarding the emotional and
intimate atmosphere. He started using a more simplified language narrowed down the colour
range and applied the colour accents on the borders of a canvas. Through colour Gierowski
implies a certain spatial order in his paintings. The colours are arranged into stripes with a
different hue and lucidity which conjures the matter of the space. Lines split the painting
into areas while light connotations carry a tension. In the 1970s Gierowski organised his
canvas compositions exclusively through colour gradients to later counterpose large areas of
differently toned colour. In his paintings from the 80s the emotional impact of colour became
prominent while Gierowski began expressing himself in a more subjective or even spiritual
manner. Skira is publishing his first international monograph in conjunction with the
Foundation Stefan Gierowski. The monograph features essays by David Anfam (writer curator and
leading authority on American modern art) Michel Gauthier (curator at Centre Pompidou) and
Stach Szablowski (independent curator art critic and columnist).
