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Studio Visit - Tycjan Knut
Studio Visit
Tycjan Knut
Welcome to the studio of Tycjan Knut, a Polish artist living and working in London. In his abstract paintings, Knut aims to surpass geometric trends and free painting from the constraints of formula. His multidimensional compositions feature subtle colors and delicate tonal shifts. Read on to learn about his familial artistic roots, intuitive creative process, and more
Q.
How would you describe your creative process?
A.
I start with a very general idea, then I’m not afraid to make huge changes. Very rarely do I have a precise plan but It happens from time to time. Usually I have the best ideas just after I wake up. I start with mixing color and applying it to the whole canvas in plain streaks. It’s kind of a warm up. Then I sketch on paper to capture ideas that I gathered when I was out of the studio. I try not to keep my original sketches around—the intuition and improvisation forces me into unknown territory.
The right time is of the essence for me. Usually I spend the whole day at the studio, but the most crucial decisions and actions are happening within an hour or two when I reach full concentration. One thing I do repeatedly is listen to audiobooks while working on the technically demanding fragments of a painting. I believe the secret is the right amount of contrast between form and valor, influencing viewers’ perception of works by creating anchor points for the eye. I’m trying to achieve a slow yet complex path.
Q.
What’s your philosophy in the studio?
A.
Keep on working. Don’t give up on paintings, and be happy with failures. If I’ve failed to make a good painting, it’s only because I tried to do something new. Every mistake leads to progress.
Q.
Describe your work in three words.
A.
Light, texture, balance.
Q.
Do materials and methods dictate your ideas, or vice versa?
A.
It depends on the painting. I tend to work until I’m happy with a piece. Very rarely do I make an artwork without struggle. When that happens I don’t feel as good, it’s as if time’s been wasted.
Tycjan Knut says:
“ I believe the secret is the right amount of contrast between form and valor, influencing viewers’ perception of works by creating anchor points for the eye. I’m trying to achieve a slow yet complex path.”
Q.
What motivates you?
A.
Empty canvases in my studio.
Q.
Which work has taken you the longest to complete?
A.
It’s very hard to say, as I keep some paintings for a very long time before they’re finished. I have a diptych that I’ve been working on for three years now.
Q.
Tell us about your hometown. Did you grow up around creative people?
A.
Art was never really a choice for me, it’s been part of my life since the early days. I was born in Warsaw just a couple years before Communism fell, so my upbringing was an interesting one. It was quite a difficult time, especially for artists. The old art system, cultural institutions, and structures collapsed, and due to a lack of funds the new ones had limited capabilities.
My dad is an abstract painter, and half of the tiny flat where we lived was my father’s atelier. My early years hugely involved looking through art books on my parents’ shelves, going to art events, and feeling bored by adults talking about painting and artists’ struggles. My dad founded a small drawing and painting school, and I was there all the time, mixing with his students whenever there was a free easel.
Q.
What influence does London have on your practice?
A.
I don’t feel influenced by it directly, but I feel the indirect effects of living in London compared to my hometown of Warsaw. The pace is quite different in Warsaw, and I used to be more shy about my work there.
Q.
What’s the art community like in London? Do you spend time with other creatives?
A.
Currently I live in North London, in very creative surroundings. Multiple artists and musicians constantly move in and out of my district. Plenty is going on, but I’m more of an observer than a participant in the community life and projects.
Q.
Describe “Constructive Tendencies / Formal Solutions,” the body of work you’re launching with Tappan.
A.
The focus of this series is the struggle to combine light, texture, and color into balanced compositions in which none of the components dominate the others.
Q.
If you could travel anywhere to make work, where would you go?
A.
Back to Italy. The warm light, access to natural pigments, historical references, and art museums were the things that inspired me most.
Q.
Who is one artist, living or dead, that you feel a connection with?
A.
Władysław Strzemiński. He fascinates me, especially in his concept of pure art, in which the items on the canvas don’t create an impact for the viewer—rather the color, shape, and distribution of elements bring the effect.
Q.
Tell us about an artist whose career you admire.
A.
I mostly admire artists who didn’t have much of a career. I’ve met great artists who were never lucky enough to be visible in the art market. Despite not getting the recognition they deserved, they kept working extremely hard.
Q.
If you could have a drink with any artist, who would it be?
A.
Ad Reinhardt, who was very conceptual and serious about his art, but also able to create satirical, comical scenes. It’d be great to meet him because it’s hard to imagine how he embodied these two aspects of his personality.
Q.
Are there any quotes or phrases that you think about often?
A.
A professor told me to have at least three qualities, themes, or anchor points in paintings, since groups start in threes and they’re usually more interesting than duos...
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