Krzysztof Zyngiel was born on September 2, 1982 in the city of Czestochowa, Poland. From his earliest years he was drawing, painting and performing his first sculpting works. In grade school he began taking part in various art competitions, winning prizes in both national as well as international contests.
In 2006 he graduated with honors from Jan Dlugosz Academy in Czestochowa, with a master degree in art.
In 2009 Krzysztof Zyngiel was included as one of the thirteen most popular artists of the young generation.
‚€∂His paintings are rich in symbolic meaning, text in Latin add narration and allow us to perceive his work on many levels. Presentation of demonic women on paintings symbolizes foundation of the building in imaginary cities. Half-dead characters mixed in with living symbolize triumph of living over death. Add in details, unbelievable imagination and patience in this artist reminds me of myself. I am proud of the fact that in my native city a fantasy artist was born, of whom I hope we will hear many more times.‚€�
-Tomasz Setkowski, May 10, 2006
In addition this artist showcases his works domestically as well as internationally: Poland, Africa, Turkey, USA, and Italy. His arts often are found in the private collection of many art collectors around the world including famous people from show business.
More about creation from this artist you can find by visiting his website: www.krzysztof zyngiel.com; or e-mail: firstname.lastname@example.org. Through the internet page his works can be preordered and purchased.
-personal manager Kamila Dudzinska
Krzysztof Zyngiel about himself:
‚€∂let go of what you have believed, leave the world where you lived behind that door. You will enter a magical world that you only dreamed about‚€¶‚€�
The vision of ‚€∂Apocalyptic Cities‚€� often brings the shape of anthropomorphic bodies, which become slender without losing its stiffness. Monumental polis, where characters, hands as well as faces are introduced in connection with architecture I can easily call it artistic poem of intonation sentence. Backed by rich symbolic thought and Latin symbols adding to narration, I can express myself as well as transfer what I wish to share with viewers. Often I draw cities which present various examples of architectonic solutions: connecting buildings with defense walls (to protect us from evil), gates (hiding secrets). I show ancient resident ional buildings. The cities in my drawings most of the time are deprived of any life and faded. Places of defense, palaces, which at one time had glorious past, are now fallen and deserted.
Rain of sulphuric and fire which flooded legendary Sodoma and Gomora can be compared to the current fires and inflammable conditions in the whole world. Terrorist and bomb attacks, missiles wounding people like a swarm of bees, that‚€™s everything that destroys us. I am frightened of everyday vision of cities which shows up in my head like a camera flash. This picture is hard to erase from my memory. Envisioning scenes of death and extermination which I present in living or monochromatic hue frightens me. I know that it‚€™s a gift which I must live with. We must remember that where the evil is present, goodness also resides. So then a hope exists, a pray and strive to a better tomorrow. Goodness can be always extracted, although one must first see and understand himself.
- Krzysztof Zyngiel, 2003
The kind of art which I present should excite viewer‚€™s intellect. Precision alone, realistic drawing from which I begin my work; detail as well as workshop worked out over the years should bring the viewer to my world. Recalling surrealism or fantasy realism I create transposition very significant for me. It is hidden under color shades, specific state of work as well as symbolic visible on paintings. It is not only recalling to dreams in my sleep. It is a reality which surrounds us, fulfills and defines our existence. It determines a boundary between materialistic being and fantasy which becomes a suitable of reality. Building of form and composition using symbols causes them to carry supernatural, universal, realistic and detailed text. The final effect of my creativity is presenting of materialistic and spiritual world. The work of art is not just reminiscing. It is a vision, an observation of life‚€™s distractions as well as contact with
true reality. The carrying of meanings, symbols, suitable forms, elements arranged in one whole is not coincidental. Beautiful, cosmic, catastrophic, metamorphic and what‚€™s important logic presentation of ‚€∂Apocalyptic polis‚€� brings the viewer in literary-fantastic world, at the same time diminishing his/ her awareness of today‚€™s false truth of the society. Artistic creation of today‚€™s fallen buildings, self destruction loss of self individuality, pure animal instincts, disappearing of feelings, love and own thoughts is meant to open ‚€∂you the viewer‚€� your eyes to see how low we have fallen and awake our willingness to better transformation. We need to be careful as to one day not to wake up in flooded cinders, destroyed and demolished pieces of our architectonic households. I wish you all as well as myself that we do not disregard information given to us by the media. Let‚€™s try to together rebuild the good in ourselves and
concentrate on the essence of fragility of our existence.
- Krzysztof Zyngiel, 2009
Taming of demons
Truly ravishing imagination of fantasy art has its source in subconscious ness. No less in the moment of picturing this, what plays no lesser role plays series of aware choices of motives, symbols, hue and composition. Deciding that the art piece is becoming a masterpiece is a third factor whose source must be looked in over-awareness. Only it can open a possibility of connecting with an absolute energy.
Krzysztof Zyngiel is a young artist who does not pretense claim to create art masterpiece but on a stage of search is attempting to find an ideal word for what lies in his imagination, but in the moment when he is attempting to visualize a dream vision on canvas appear to head in these directions in the rhythm of cosmic space.
This approach creates a series of dangers. The price is often anxiety or sometimes even terror which is causing immensity and depth under almost volcanic pressure trying to get on the outside of apocalyptic visions full of demons, angels extinction and death.
This pressure in Zyngiel is so strong that it does not leave a place for a formal-pure coquetry like that found in Setowski, but also does not succumb to dictatorship of demons, like it has in the paintings of Beksinski, thus Krzysztof‚€™s form of art can not be considered in a simple category grade which is applied to fantasy art, although if one is to look for formal relations then maybe only in protagonist of surrealism, Salvador Dali, from the time when he did not yet fall in the ruling of commercial demon.
A matter of ‚€∂style‚€� in the paintings of Zyngiel remains open, he has more to say than only compilation viewer with overdrawn and deformed motives or making chills of fright. That it remains open can be in his case considered a plus, because congeal in a manner especially in fantasy art leads to less innovative repeats of constantly the same symbols and motives or illustration of the same ideas.
If Bekanski enters in dangerous kontredans with demons ‚€∂for mister brother‚€� and Setowski is petting and grooming them, not taking anything from the quality of their art, one must note that Zyngiel giving deserved homage to power and meaning of demonic mightiness he does not tame demons, which levels at least part of evilness and terror in them and their proper nature.
Demons in the paintings of Zyngiel appear in the wide open fantastic space, enriched with maze, sometimes anthropomorphic architecture. This scenery creates backgrounds for demons which are always presented in the form of women angels of death and destruction. Women‚€™s figures of death leave no doubt to their gender which are born on the look of hermafrodistic Thanatos of Malczewski. Evil gender is clearly described. Zyngiel in symbolic way confirms a thesis rooted in culture, that incarnation of evil is not coincidental, because the price of evil must be its perception under the form considered weak, thus not threatening or in the form of absolute goodness knight which is an angel. But here feminine angels carry the characteristics that on one hand symbolize the durability of evil in the form of rock body which becomes a wall, and on the other hand those that clearly point on its satanistic appearance.
The durability of demonic evil in opposition to easily giving in destruction of delicacy goodness in Zyngiel, consequently appeared in yet another form. Demons come down on Earth, apocalyptic time is approaching, on the horizon falls a curtain that prevents people to call for absolute heaven for help. Trumpets proclaim destruction, the atmosphere is becoming sultry, the hues are disappearing. Guided with the strength of demons the crowds are marching in an unknown purpose and unknowingly gather in front of their face. That‚€™s them, and not God will now judge them in proper means. The goodness was condemned and the evilness was rewarded.
The civilization of the contemporary world more often forecasts the evil. Zyngiel‚€™s presentation is clear: not much time is left before demon‚€™s reward. I hope that on the next stage of his artistic development he will be willing to show us what that reward is.
I suppose and leave it to Krzysztof as my assumption that it will be a garden of constant and narcotic devastating pleasure, where among orgiastic paroxysms we will beg for its end or a monstrous surfeit of illusive satisfaction of possessing consumption goods, where by drowning and suffocating of ourselves under cluster of cemetery‚€™s garbage, we will await for a messiah who will free us from them.
- critic and art historian
Hamburg January 6 2010