``During my residency at Numeroventi I developed a technique of painting which uses different grades of local marble dust incorporated into the paint.``
Tycjan Knut was born in 1985 in Warsaw, and graduated in 2011 from the Warsaw Academy of Fine Arts after studying painting in the studio of Professor Jarosław Modzelewski. Has an Ph.D. at the Jan Kochanowski University Institute of Fine Arts in Kielce.
Knut works in painting and drawing, he mostly creates subtle abstractions, which resound with the echo of the geometric trend, but also expresses a desire to exceed that tradition, freed from the constraints of formula. Knut uses delicate tonal differences and subtle colours. His reductive images also have qualities of a multi-level composition, because they were established as a result of the rise and overlap of colours in time, in a way that resembles the organic world. Guided by intuition and imagination. He’s known for digging in archives in search for long forgotten or unknown abstract “masters”, as his interest focuses on discovering the art from 1960’s. and 1970’s.
Numeroventi: When did you realise you wanted to be a painter?
Tycjan: I didn’t really have a choice, my dad started to teach me how to paint when I was four years old. When I realised what’s going on it was already too late.
N: Does your Polish origin have any impact on your aesthetic?
T: Yes a little bit. Poland was never a major art scene but abstract art came to our country quite early. Due to the cultural isolation at the time, it had matured by itself, giving it very specific and unique characteristics which I sometimes refer to.
N: Some of your paintings recall feelings of a peaceful horizon at dusk, some other suggests a geometric dream where both the organic and the modern world coexist. What are you looking for when composing the tonal gradient? And how do you define geometrical constraints within your canvases?
T: In my paintings I try to walk around the borders of abstract geometry. Light is very important. Imitation of it in the form of gradient or by using structure to enhance certain parts of painting. Geometry holds the ideas and emotions in form.
N: What would you like the viewer to feel like in front of one of your paintings?
T: The most effort goes into finding balance, not creating one at the beginning but carving it out. I would like the viewer to see the part of the process, engage with it and feel the calmness at the end of it.
N: How do you change your routine when you feel uninspired?
T: In my studio the only routine is tea and cigarettes and when feeling uninspired I am making frames, preparing canvases, washing brushes or sketching.
N: Has working in Florence and at Numeroventi influenced your working method?
T: Yes it did, in my residency at Numeroventi I developed a technique of painting which uses different grades of local marble dust incorporated into the paint. The light in Numeroventi is amazing, warm and very subtle and when you combine it with local pigments and wine the effects are spectacular.