Dream is a real feast of shapes that cannot be included in the framework of the thematic cycle. Things are deformed there: they shrink, grow, disappear, wilt. Sometimes individual forms freeze during the process of reducing their identity and next moment they are evolving and as if by laws of myth, lock their experimental life into shapes polished and visible, reminiscent of mirrors or twisted and untamed. A dream that stimulates creative power, an arcadian and sometimes terrifying and prophetic land is the home of the ideas of Jan Gostyński. Additionally, according to the Artist, each of his paintings is created from disagreement that something has passed and arises from a bold and uncompromising desire to unseal the most terrifying nooks and crannies of all dimensions of reality, including the surreal. The goal is to get matter out of the mental underworld, self-interpretation, giving it another sense. Destruction, paradoxically, imbues the sculpture with the life of the artifact. The constant uncertainty, visible in many sketches made in the process of creation, related to what a dialogue with form is supposed to be, prompts us to further destruction and synthesis, testifies to the difficulty in transforming the abstract matter of thought and the voiceless sculptural substance into form. It also shows that the Artist goes together with form through its dramas and tensions and he is fascinated by the emergence of form from non-existence and at the same time its becoming a portal to imaginary and symbolic spaces. n Gostyński's finished sculptures critical tensions, opposing forces and overloads lie dormant. The form semantically saturated by the Artist evokes energy and reveals all the levels of communication that the Artist has achieved in working and which he collected and shaped.  Following in the footsteps of Henry Moore, Gostyński treats a work of art as a separate artistic whole, regardless of the designation it represents.
 The reward for the effort put into working on the form is preserving what has already passed, fleeting moments and beautiful thoughts, the freshness of old emotions and fading images. The recipient's task is therefore to cross the magical, even mystical, border of form and to release the content of the work, that is - as Norwid said - "forge the meaning". The disintegration planes of a sculpture’s shape and its multi-level indeterminacy require from the sender and the recipient a collaboration full of effort, perseverance and cognitive anxiety.    However, from the perspective of an adult sculpture peculiarities quickly find their place among the imageries of an alternative world of a child - different, more interesting, and even more real, because it shows something more than a glass and an eye. Sometimes when one is looking for more than just human existence or palpable things you can discover a lurking void. It’s true that Gostyński stripped his works of external human features, but simultaneously it opened the way to borderline, peculiar non-human beings. Instead of sublimating to humans, he tended to animate phantasmagoria and dreams, trying to show them as universal existential situations. For this reason sculptures of non-humans could play a cognitive role, urging to seriously think about contradictions of human nature. Gostyński is convinced that the words from the 20th century Surrealists' manifesto are true: To live or not to live - these are imaginary solutions. Existence is elsewhere. Jan's sculptures, however, do not convey unequivocal ontological beliefs, but are auxiliary catalysts for all forms of surreality that arise in hidden places of our mind, and also a regeneration of primal myths hidden in the subconscious.

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