an essay by Łukasz Ostrowski
The concept of transposition holds varying connotations depending on the specific field under discussion. Its interpretation differs in mathematics as opposed to music or physics. However, regardless of the domain, the core idea remains centered around the act of relocating something – moving towards or away from a point, altering the arrangement between two objects, or applying a deliberate shift to obtain a certain value and effect. This fundamental concept finds expression in the masterfully crafted compositions by Maja Tomaszewska. Her creations delve into the human psyche and the natural world, often set within the familiar environment of the Biblical Eden. These compositions transport us to captivating settings where known sets of qualities and characteristics become not-so-obvious anymore.
She introduces a completely new vantage point of what could be ‘in between takes’ when taken a closer look at the story of Eve and Adam. It is no longer a cliché story, with known events, but rather a vivid, blissful story of a very human-like perspective, where they let go of their ‘masks’ and start acting in accordance with nature. Both ‘Paradise Frolics’ and ‘Eve and Adam in Paradise’ do just that, where there are no strict rules and they can at last roam free, however they like, without any setbacks. This mirrors the essence of youth, where the concept of mortality is absent from consideration. While most of us don’t confront thoughts of death daily, these artworks capture the very instance of such contemplation – a fleeting feeling that materializes upon closer inspection only to disappear in a split second. These artworks are crucial to reimagining what it is really all about. Are we here to be in constant pain and sorrow, or maybe to let go of those things that limit us and finally breathe in the joy of life that allows us to cherish the day?
Transposition may be understood as a hectic fission of the mentioned earlier psyche, where all the factors influence each other creating an unbearable reaction, in which we ought to choose – choose what we long for the most or ignore the nature we are most fearful of. Maja’s ‘Introspecion’ and ‘Inspiration’ superbly portray the meaning of transposition, regardless of how one views it. Both characters are in the middle of something inexplicable, the indecisiveness is very much there. The character in the ‘Introspection’, on the one hand, looks above, as if saw the most obvious thing, that he knows he’d always choose, something worthwhile, desired, which at the same time could be the most destructive one, but on the other, is stricken by something horrific and turns away immediately. This makes him hold onto his chest, with the impression of wanting it to be torn apart, as if the weight of what he saw, was too heavy to handle. Whereas in ‘Inspiration’ the character clearly sees one thing, most likely the light – the light disguised as something he has dreamed of for years. The light might as well be an illusion, something that tricks him into believing he has a choice. This one tiny thing, without which his life is not fulfilled. But can he reach it?
Maja creates a mysterious fog, which covers almost all of her creations, but ‘Watra’ takes all the credit in this regard. The absolutely immersive size of the painting makes one wonder if perhaps they are not the ones standing in front of those scary, yet welcoming characters. We feel invited to their ritual of remembering the ones who are gone, the stories intertwined with them, and the deeds they valued the most. Their long-gone stories reverberate all around them and can be heard at any given moment. Characters wear masks, which may suggest they, in time, will throw them into the depths of the fireplace, simultaneously letting rise and thrive the new embodiments that are waiting to be unleashed. Silhouettes behind them might as well be their new self, looking and stretching towards the tree crowns, unveiling their bodies to be illuminated by the moon’s light. All of that could represent a shift in time – transposition divides and splits their presence, making two concurrent expressions, two representations of one entity. The two main characters are looking
straight down at the fireplace, awaiting for the change to begin. The composition and size are very ambitious, but Maja manages to convey every little detail by utilising a very close source of light, i.e. fireside, characters crouching, creating a visible space above their heads, as well as silhouettes
to the left-hand side and right-hand side, making it even more powerful scene. Finally, one could wonder if these events really took place. Well, Maja is certainly the only one who knows the truth in this regard.
Masks play a crucial role in Maja’s world. Not only do they strongly connect with the act of transposition, but also serve as a question – what is the purpose of wearing a mask, and how exactly do they relate to us? As we can clearly see, in a few of the presented paintings, characters don’t wear masks, e.g. in ‘Paradise Frolics’, ‘Eve and Adam in Paradise’, ‘Kiss II’, or ‘Eve’s Creation’. In all of these, characters express very subtle and sensitive emotions because they are no longer bound to act in a certain way due to wearing a mask. Whereas when masks are put on, characters act mysteriously; their presence is obscure and we are left with presumptions about their nature. This is exactly the metaphor Maja tries to sneak in, and it is up to us to decipher and interpret it.
Maja’s skills and formal knowledge are evident. Her craft reaches the pinnacle of artistry with every step she undergoes. She navigates freely with her compositions and colours, mixing a philosophical approach with what is only visible on the outside. There is no right answer to what her paintings depict – the more people, the more stories, but Maja is like the ʼmiddlemanʼ between what we know, and what is yet to be discovered. ‘Transpositions: Eden’ is surely an exceptional series of extraordinary paintings in the world of art. She abandons well-known attitude to painting, making her stylistic expression fresh and untouched. To see her creations is like taking a breath of fresh air, or letting in sunlight rays, sneaking unnoticeably into our existence. Maja certainly has a bright future ahead of her and it is only a matter of time until we discover a completely new, revolutionary act of her own.
Łukasz Ostrowski