Konrad Wyrebek is a British-Polish artist and earned a degree in Fine Arts from London Metropolitan University in 2011, and previous to that, studied Fine Art Painting from Westminster University, London, and Art History and Technology of Fine Arts at the Academy of Fine Arts, Warsaw. Wyrebek represents and challenges contemporary life and culture through the use of television-, film- and social media-based images, creating abstract video paintings. Recent exhibitions include PUBLICPRIVATE, Armory Art Week, New York (2014),Painting in Relation, Solyanka Art Museum, Moscow (2014), Flesh Reality, Point Zero Project Space, London (2013), Question of Sport, Royal Academy and Museum of Contemporary Art, Clifford Chance Collection, London (2012), and CutOut, Sotheby's Institute of Art, London (2011). Wyrebek is the recipient of the 2011 Sir John Cass Sculpture Prize, along with both the John Burn Sponsorship Award for 3-D printing and the Metropolitan Works Sponsorship Award for rapid prototyping, both in 2011. He has recently exhibited works from his Data Error series at The C Collection, curated by Vittoria Broggini at MiArt Milan and at the Dallas Art Fair in Dallas, Texas. Wyrebek lives and works in London.
Artist Statement Data Error are a series of large format abstract paintings and video-paintings using images captured from television, film, and print that represent contemporary living, lifestyle and culture.
Each image is pixelated through a succession of digital compressions with deliberate settings causing corruption of data in transfer between different softwares and devices. Wyrebek explains that there is a connection between the process and the intensification of abstraction Mondrian's paintings.
During the process, images are destroyed, protected and subsequently retrieved “It is related to my interest in imperfection and deformation”
“I know what I am interested in and I am trying to make that happen. When you are watching a video online, you can see that sometimes pixelation happens for a second, but I am trying to set the condition to make it happen a bit longer”
Wyrebek’s large-format abstract paintings examine the relationship of mark-makings between the emotional artist's hand and rational technology. The question is also raised as to how far and how soon, humanity is losing itself in the digital; how far we are already embarked on a journey that merges mind and body with the stuff of machine.
Like Wyrebek's previous half flash, half steel ‘live sculpture’, contrasting elements are brought into play in Data Error Paintings Apart from showing merely elements of abstraction, Wyrebek's paintings also retain the possibility of interference. They are not simply the product of corrupting process of data, each painting is unique and singular, and each finishing layer is retouched.
The nature of abstract art is always a subject of investigation in Wyrebek's work. “Can photography be abstract?” he asks. In his previous work, Plato's Cave, he photographed abstract light in different environments. The photographs look abstract, but they are, nevertheless, a faithful representation of reality. “It is a presentation of something that looks abstract, but it was an object, a video, a picture”
“I like the randomness. When the mistakes come out, for me, they look beautiful. By enforcing this mistake, they have the potential to become deeper stories than they are. The mistakes and pixelation eventually end up looking interesting and have the intellectual potential to open the gate to see and understand something different.”
There is a certain irony in Wyrebek's abstract paintings, when the details are gone, we are but forced to step back to see a clearer and bigger picture. As the viewers step back, the boarders of the pixels become invisible, the process of pixelation is being reversed and the seemingly calm, regular and geometrical pixels become chaotic and dynamic. By reducing the superficial meaning, and by abstracting the figurative, artists like Wyrebek’s knowingly compel viewers to search for meaning in the art work, to see rather than simply looking.
On a daily base we are exposed to vast amounts of information that can be interrupted, transformed or even corrupted. Konrad Wyrebek's DataError paintings open discussion and further investigation the chaotic and complex DNA of the digital age.
Konrad Wyrebek is British-Polish artist living and working in London, UK.
EXHIBITIONS AND PROJECTS
2016 — Group show, Saatchi Gallery, London (Upcoming)
2016 — TBD, Clemens Gunzer Gallery, Zurich (Upcoming June-July)
2016 — Art Brussels, Ron Mandos Gallery, Brussels (Upcoming 22-24 April)
2016 — “2°C above acCLI-M8 X”, solo DataError exhibition addressing Climate Changes / Global Warming, curated by Domenico de Chirico at Ron Mandos Gallery Amsterdam (Upcoming 9 April - 14 May)
2016 — IMAGINE, Brand New Gallery, Milan ( Current March-April)
2016 — Art Rotterdam, Ron Mandos Gallery Rotterdam
2015 — LINK, with Antoine Donzeaud, Ryan Gander, Celia Hampton, Jürgen Klauke, Alexander Kroll, Emmanuel Lagarrigue, Simon Morett, Nick Oberthaler, Henrique Oliveira, Konrad Wyrebek. Curated by Rene-Julien Praz (Praz-Delavallade Gallery), Paris
2015 — Friezewk, group show with Gabriele De Santis, Ben Wolf Noam, Neil Raitt and Konrad Wyrebek, 10 Hanover Steet, London
2015 — Art15, Art fair at Kensington Olympia, London
2015 — The Whole is Other than the Sum of the Parts, two persons exhibition with Sheree Hovsepian and Konrad Wyrebek, Kristin Hjellegjerde Gallery, London
2015 — The C Art Collection, group exhibition with Sebastian Black, Nick Darmstaedter, Ryan Estep, Sam Falls, Ryan Foester, Mike Goldby, Sam Lipp, Brendan Lynch, Landon Metz, Sam Moyer, Oliver Osborne, Nicholas Pilato, Gerard Richter, Christian Rosa, Julia Rommel, Ben Schumacher, Lucien Smith, Claire Tabouret, Brad Troemel, Danh Vo and Konrad Wyrebek. Curated by Vittoria Broggini, Milan
2015 — Dallas Art Fair, Dallas
2014 — Space Age, curated by Jessica Warren, with works by Ophelia Finke, Santiago Taccetti, Nathan Green and Konrad Wyrebek, Hus Gallery, London
2014 — Video Painting in relation, curated by Fyodor Pavlov-Andreevich and Sergey Popov, Solyanka Art Museum, Moscow
2014 — PUBLICPRIVATE, curated by Wills Baker and Sarah Sulistio during Armory Art week, New York
2013 — Flesh Reality group show, Works by: Sarah Lucas, John Isaacs, Konrad Wyrebek, Erwin Wurm, Matthew Miles, Laurie Simmons, Whitney McVeigh, Tatsumi Hijikata, Kiki Smith, Matthew Killick, Hans Bellmer and Jiri Kolar. Curated by Point Zero and guest curator Eiko Honda, London
2012 — Question of Sport, Clifford Chance Collection, curated by Michael Petry, Royal Academy and Museum of Contemporary Art (MOCA), London
2012 — Face/OFF, Group show with Eberhard Havekost, Maria Brunner, Tatjana Doll, Frank Nitsche, Bjarne Melgaard and John Isaacs. Curated by Olga Hammermeister. Gallery Gebr. Lehmann, Berlin
2011 — On Time, Curated by Joanna Parkin Villa Venetian, during Art Basel Miami Beach, Miami
2011 — Uprising. Video Art, collaboration for a giant screen projection for Robert Kupisz show, Warsaw
2011 — Showroom, curated by Marcus Bowerman, Metropolitan Works, London
2011 — Idea of Worship, Clifford Chance Collection, London. Curated by Michael Petry, Royal Academy and Museum of Contemporary Art (MOCA), London
2011 — CutOut, Curated by Yu’an Bu, Sothebys Institute of Art, London
2010 — Icons, group show with Grayson Perry, Chris Ofili, Peter Doig, Elmgreen and Dragset. Patron - Victoria Miro, Victoria Miro Gallery. Curated by Eiko Honda and James Putnam, London
2010 — Safe Haven, Curated by Rupert Record, Brunswick centre, London
2010 — Wicked, curated by Sydney Southam. My work featured in Saatchi Gallery report, Hackney Wicked Art Festival, London
2010 — Blasphemy, curated by Alix Marie, Helene Butler and Flow Valmont, Barcelona
2010 — Close But No Cigar, curated by David Gryn, Institute for Contemporary Art (ICA), London
2010 — Billbored, curated by Josef Valentino, Tate Modern, Liverpool Street station, Shoreditch, Southbank and Saint Paul’s Cathedral, Pollocks, London
2009 — ANK, group show with Anthony Gormley, Tracey Emin and Wolfgang Tillmans. Curated by Katy Dawe,London
2009 — Name Portable, curated by Patrick Brill (Bob and Roberta Smith) and Ben Cain, Hales Gallery, London
2009 — Art Art Art Gallery, Commission forMatt Roberts Arts Foundation, London
2008 — Communication:Live, site-specific installation, Saatchi Gallery, London
2007 — Empty, curated by Simon McAndrew and Bogna Chreptowicz, Da! Creative Space, London
2006 — Gallery 43, curated by Simon McAndrew and Bogna Chreptowicz, London
2005 — Co-founder of DA! Art Movement, London
2004 — PECS, International Youth Festival, Hungary, Pecs
2011-2008 — Fine Arts, Sir John Cass Art department at London Metropolitan University, London, United Kingdom
2006-2004 — Fine Art Paintings, Westminster University, London, United Kingdom
2004-2001 — Art History and Technology of Fine arts. Collage Fine Art Technologies and Visualization Movie and Theatre, Warsaw, Poland
PRIZES AND AWARDS/SCHOLARSHIPS
Sir John Cass Sculpture Prize, London
John Burn – Sponsorship Award – 3D printing
Metropolitan Works – Sponsorship Award – Rapid Prototyping
Large Scale Print Commission for Matt Roberts Arts Foundation.
Saatchi Art and Music Magazine
Saatchi Gallery Online Magazine
This Is London
Dazed and Confused
Wall Street International
Pickled Matter Magazine