Krystian Burda — black point — monographic exhibition
‘(…) The matter is so diverse and rich that I cannot write about all your works in this letter. In result, I restrict my notes to what is typical for your works, namely to the holistic humanist view, which is accessible to only a high ceiling flight. Acting in the sphere of the so-called great numbers in the industrial design, you have created the elements of structural character for the background of the family life through the synthetic forms of everyday use, At the same time you have included the individual likings of the users by means of differentiated ornaments and colours. The succinctness of the message in your brochures and calendars is the simplest and surest way of reaching the viewer. The blue colour of enamel painting characterised by structural continuity — the anti-objective background of events at the swimming pool, underlined by its brown fragments, its monumental character in result of the used scale of the sophisticated details, as well as the blue fittings — is well interfered with the whole surrounding, including the colour of water and the forms of splashing swimmers. (…)’
fragment of Oskar Hansen's letter for Krystian Burda
Szumin, August 20th, 2004
Krystian's Burda catalogue ‘Black point’ It is the first publication which is meant to be an exhaustive monograph of this artist. The catalogue contains a comprehensive presentation of the...
Krystian Burda was born on June 20th, 1935 in Rydułtowy. He took his first courses of drawing and sculpting as a twelve-year old pupil of L. Konarzewski, the founder of the state plastic centre in Rydułtowy. In 1955 he started to study at the Faculty of Sculpture of the Academy of Fine Arts in Warsaw. During the studies he has taken part in clandestine courses of sacral architecture, which were organised at the academic St Anna church. There he was a co-author of the bold spatial installation of God’s grave with patriotic and national elements. He graduated in 1961, getting the diploma with honourable mention from the sculpture studio directed by Professors J. Jarnuszkiewicz and O. Hansen. The theme of his diploma work was the monument to Frederic Chopin entitled The Road to Żelazowa Wola. The innovative form of the plastic interpretation of the theme and the utilisation of film to describe the space and time have been accepted with much esteem by the milieu of academic professors and art critics. In 1962 the artist got the scholarship granted by the Danish government; however he couldn’t accept the grant because he didn’t get the permission to leave Poland. During his studies the artist took part in two years training course of industrial design under the supervision of Professor J. Sołtan at the artistic-investigation studio of the Academy of Fine Arts in Warsaw. The experience got in that studio has found its practical use in the work the artist took up at the Silesia ironworks in Rybnik. In 1970 the artist was the first one who has worked out the technology of painting of enamel steel sheet and utilised it in his architectural works. As a member of the Polish Union of Artists and Designers he took part in a number of group and solo exhibitions.
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