I should not write about Renata Bonczar's writing for at least three reasons

Is my former student, current neighbor, I do not share her point of view on art. There is a fourth reason, namely that the longer the person lives, the more often he doubts, and despite his acquired practical knowledge, he becomes less and less sure of himself, and therefore more and more stubborn, arbitrary and orthodox. If he is trying to share with other treasures of his life's wisdom, if he is trying to share with other treasures, he risks being riddled with boredom. But I have no choice, because when I signed Renata 20 years ago I am obliged to do so Certify her work, whatever the circumstances. Reflection on boredom came to mind when reading someone else's and his speeches on the work of Renata Bonczar, where the writer deals with the eloquent description of the charms of her painting, that is what anyone can see without anyone's help. So I will try a little differently. I will try to tell you about what you can not see. As I mentioned at the beginning, I do not share Renata's point of view of art, so with the ex-belfra's kindness, but with the skepticism of my fellow photographer, I have been looking at her for twenty years. She has convinced me over the years that she is not only doing the job but painting because she has to, passionate and obsessive. I do not find in her paintings answers to universal questions about the problems of life's triumph over death or vice versa

I'm not even sure if it puts them. I am in favor of the fact that she does not argue but rather tries to find the right form for expressing her emotions about their existence. It also seems to me that Renata each image treats as a transitional stage, like the beginning of the next image that will be created by the previous one and thus will record its personal participation in the passage of time. This is what I would say, painting in accordance with the logic of Nature

With the rhythm of life, passing and death. Grass-root-flower-fruit-grain. Spring-summer-autumn-winter-spring. I will take the risk that Renata's painting is biological. Not because of what "

presents"

but how it arises

That every time it is a part of the author, it is not a work next to it, but it is just a particle that it is giving (I should even say it is born, yes it would be more accurate, but too graphomane and not very elegant). Renata's paintings next to her biologicality are also in the most ordinary human dimension, images of longing for what is but departs. His painting attempt to express the impossible, that is what is irrevocably even present. They are the manifestation of unrest and the search for light in the darkness, the warmth in space, or the self in sorrow And joy. There is something else for what I think Renata yearns for, what she is afraid of what she is looking for and why, God thanks to it. Let's look at the images. Despite the consequences, despite the fact that one image gave birth to another, the passing years dragged on them Day after day with their signs. The first works of 'roots' and pedigree in nature (fire, water, stone, egg, phallus, etc) were a departure from the source, ie, non-pictorial. They were Renata's trademark character painting her in the area of ​​non-geometric or expressive abstraction as she prefers. Over time, strange 'landscapes' of the soul and 'landscapes' of imagination arise. The problem of passing, the mysterious obstacles, the dramas with the appearances of calm or self-confidence, the tension, the lacerations, and more and more frequent attempts at imagining what to say is impossible because it is an elusive illusion. But if you carefully analyze these images, it is not hard to see that what is supposedly impossible is more and more likely to occur in an unlikely, imaginary reality.   Still the reality of 'soul', yet 'imagination', but without pretending, there are outlines of horizons, skies and Earth. In recent times this trend has intensified, as evidenced by, for example, such cycles as 'Searching for lost cities, places and times' painted with location indication

Prilep, Benares! Renata increasingly resigns, as I think, of the workshop and pictorial possibilities of his painting, apparently longing for what is, physical, real. (And who knows, maybe even someday, in the future figurative?). It is increasingly increasing attempts to materialize those longings in the image. They emerge more and more real as excavations

Houses, palaces, towers

The landscapes, the 'purple gates' open up, behind which you can surely see a good family Iota. So please return you. Just who's maturing, it's coming back. The author herself says this

'... I go back to places that give me energies that are my inspiration.' Or just? I have the impression that after 20 years Renata Bonczar takes the risk of consistent but divorce with what was her identification mark. There is no stopping, turning, regression