Stanislaw Kors


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Introduction by Art Critics

The paintings of Stanislaw Kors have always disturbed me. The imagery is powerful and eerie. Great amorphous shapes, drifting, dancing, exploding...suspended in space. They appear to be arrested at the very instant of attending this most extraordinary moment of their birth.

At first I thought their capacity to unnerve an observer was because Kors had moved the rules around. There was some sign, albeit negligible, of self-conscious painting, and his abstract nonrepresentational works projected dimensions of space yet bent the laws of perspective. This created a sense of portent in the paintings, making it seem that anything might occur, and thus Kors opened the labyrinth of the viewer's unconscious mind. But even the disparate spatial systems of the Surrealists had proffered only some semblance of realistic representation, and the inter-relations of Cubism had been deliberately irrational; so initially, it seemed that these fictional symbols by Kors were indulgent.

But the more I considered his untethered specimens and the bio-morphic style of artists such as Miro and Tanguy, it became evident that Kors had produced a tremendous rhythm within compositions which were dynamically perfect. Each directed tension was stabilised by its context, its movement fitting logically into the theme of the whole. If one turned a painting sideways or upside down, it gave no impression of sliding from its moorings; the strength of the visual remained the same.

Far from the impure technical knowledge, Kors had created a series of exquisite forms plane and volume, each a co-ordinate unit of design. The basis of his colour organisation was superb: essential elements of shade and harmony were perfectly balanced in hue and degree of saturation. The configurations seemed to probe the inner life of the mind and infinity beyond human experience. There was utter conviction in the artist for his idea and a complete indifference to the expectations of his viewers.

A light guided each tangle of shapes which seemed to have a property of its own. After all, the inherent brightness had not beamed through an unlit universe to reach a dark earth from a sun that was 93 million miles was an integral part of the artist's expression, governed entirely by his decision.

The fundamental grandeur of the subject matter, like Levertov's "dreaming angels each embued with the mysteries of each other", would find eternal response in the hearts of contemplative folk. It was as if a significant secret of the universe had been confided to Kors, and his paintings had snuggled into the greater harmony of Godhead and man.

Samantha James
Art Critic
The Star
July 1990


When wounded by the inhumanity of man toward man the human spirit has the option of departing from reality in search of a new home and in this process becomes creator of his own destination. Stanislaw Kors exploits the strange worlds of dream and the subconscious mind to create a universal new reality in which the human spirit can roam freely, can soar like a rare planet, a strange form which is interpreted as colour, line and form and as such transcends the confines of physical reality.

On a vague background he conjures a mystical firmament within which cosmic powers rhythmically find a place in the multiplicity of the creation. He creates a new dimension and allows freedom of thought � of dreams and also fears.

Human existence is governed by basic norms. These norms apply to the whole of the creation, on earth and elsewhere powers exist that give an equilibrium; this is a universal law. These powers Stanislaw Kors projects visually by means of visual elements. These he manipulates with the virtuosity of a great musician. These dreamworlds float effortlessly through mysterious depths. As with the human spirit he creates endless possibilities, reforms and combines all to a strangely familiar reality.

This freedom of organic forms is sometimes curtailed by a horizon, a slit through which infinity exists or the suggestion of a staircase � a place of rest for the weary traveler through life. Kors introduces the strange worlds of outer space which the human race still must conquer. He paints with visual clarity the dreams which evade us. He provides the restless soul with a space in which to escape the atrocities of our existence which is characterized by the destruction of human life and our environment. From a polluted earth he creates a pure space in which man can dwell.

Lucia Burger
Art Critic
July 1990

© 2003 Pawel Kors
Text © authors, Images © Stanislaw Kors Estate