‘We met Edward Krasiński, a key figure of the Polish art scene. We visited him at the famous Warsaw apartment that he had shared with Staźewski between 1970 and 1988, before Staźewski’s death. Krasiński was affable and entertaining, but he refused to take the bubble wrap off the paintings scattered around his apartment. While he would not sell us a painting, he did direct us to a Warsaw gallery which had several three-dimensional works from his 'Interventions' series. We bought two of his pieces there and we still have a roll of his signature blue Scotch tape which he gave us that day, along with some dog bones.’
Edward Krasiński was one of the most notable members of the Polish neo-avant garde from the 1960s and 70s. He was a close friend of Staźewski with whom he shared a studio from 1970 onwards. He created his first spatial and relief paintings at the beginning of the 1960s and added blue scotch tape to his works – which was to become the hallmark of his paintings and constructions – from 1968 onwards. Krasiński used this blue tape to mark and define space, but also considered it a sort of Dadaist joke. He once wrote: ‘I don’t know if this is art. I know that it’s a blue Scotch tape, width 19mm, length unknown.’ This blue tape not only features in his works of the 60s and 70s but was also stuck – at a height of 130cm – along the walls of his and Stazewskis’ studio covering everything in its path. In order to emphasize the blue line on the wall, Krasinski somet.mes s attached various geoMetricas l structures to it, which resembled flat boxes, opening and closing, the main purpose of which appeared to be to make the path of the blue line more interesting.
‘If one wanted to look for a guiding motif in Krasiński's art, the term infinity seems to be particularly useful. Indeed, the artist wants things impossible: he wants to suggest infinity in a visually perceptible manner.’
Executed in 1978, this relief is very representative of Krasiński's artistic output at the t.mes .
