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WALDEMAR
KOLBUSZ |
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Click on any image
to view an enlargement and further information |

| W A L
D E M A R |
selected
exhibitions |
“Geometry
and gesture converge dynamically in the canvases of Waldemar Kolbusz to
achieve a vigorous synthesis at once sensual and architectural. Like Brice
Marsden and very few other contemporary painters, Kolbusz has been able
to extend the lessons of the Abstract Expressionists and turn them to
his own ends in order to forge a visual vocabulary altogether his own.
It is built upon both an intellectual comprehension of the painterly tradition
to which he belongs and an intuitive ability to trust the spontaneous
impulses of his own sensibilty.” “…Waldemar’s
intensely provocative abstracts.” “Kolbusz has
become a critically acclaimed young artist with an innate sense of colour
and space.” "Lyrical and
lofty, Kolbusz’s abstract paintings are made of lozenge-like patches
of colour. They pulsate and breathe, awakening the senses to their hypnotic
post-painterly aesthetic." “Perth-based
artist Waldemar Kolbusz has become one of the hottest names on the lips
of art luminaries around the country.” …this WA artist’s
east coast debut, with the abstract series Freeway, is the stuff that
Broadway plays are made of.” “Waldemar Kolbusz
has undergone a revolution from within. Freeway stands as a testament
to this rebirth of artistic desire through deeply pondered conversations
with free-associational constructivism, reflexive minimalism and post-painterly
abstraction. “Design Aficionado” “The light continues
to resonate through the paintings by Waldemar Kolbusz. His endless energy
and tireless passion have permeated into our community, sharing an aesthetic
vibration of contemporary society. “It looks like
Waldemar Kolbusz, 31, will be one of our famous painters.” “..his work
is garnering a huge amount of interest both here in Australia and in the
cut-throat art world of New York. Kolbusz’s work has become highly
sought after, with everyone from architectural firms and chic restaurants
to the style gurus at Vogue Living magazine snapping up his vivid and
energetic compositions.” |
| s e l e c t e d e
x h i b i t i o n s |
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| Gunyulgup
Galleries, MARGARET RIVER |
2001,
2003, 2004, 2006, 2007 |
| Mahoneys Galleries, MELBOURNE | 2006 |
| Maunsell Wickes at
Barry Stern, SYDNEY |
2005,
2006 |
| Amelia Johnson Contemporary (group), HONG KONG | 2005 |
| Agora Gallery (group), NEW YORK | 2003 |
| Galerie Martini (group), HONG KONG | 2003 |
| Libby Edwards Galleries, SYDNEY | 2002,
2003 |
| Libby Edwards Galleries, MELBOURNE | 2002,
2003 |
| Indigo Arts, SINGAPORE | 2001 |
| Pearlers Row Gallery, BROOME | 1999,
2000, 2001, 2002,2003, 2004 |
| Warren De Maria Gallery, SYDNEY | 1999,
2000 |
| Code Red Art, PERTH | 1998 |
| Gadfly Gallery, PERTH | 1996,
1997 |
| p r o f i l e |
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|
Waldemar Kolbusz has in a relatively short time received substantial critical acclaim and his work continues to garner interest nationally and internationally. Since his progression to abstraction in 1997, Waldemar continues to seduce with his large canvases that speak loudly (and confidently) from the spaces they inhabit. Concerned with the emotive language encrypted within the elements of colour and definition of space, Waldemar challenges and delights the viewer – his exhibitions are usually sell-outs. Purchased for collections as far as New York, Brunei, Germany and Spain, Waldemar’s artworks now hang on large walls in international businesses, savvy city restaurants and architectural firm boardrooms. Corporate collectors include the Insurance Commission of WA, accounting institution KPMG, IBM, five star Duxton Hotel in Melbourne, Vogue Living in Melbourne, Balthazar Restaurant in Perth, Mirvac Fini and Clayton Utz. Born in Perth in 1969, to Polish
parents, Waldemar formally trained as an accountant. An involvement with
painting was ever present however, and a nine month voyage to Japan, America
and Europe, where he worked at different studios, fuelled the necessity
to express and experience life through art full-time. “I remember being drawn into the images, and being almost aghast at how immensely powerful they were. I was dizzy. They confirmed my suspicions that the sort of painting I was interested in doing contained expression and feeling over exactness and formula." ~ Waldemar Kolbusz. Waldemar Kolbusz’s
paintings are inspirational in their development. |
| h i s t o r y |
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| 1969 | born Perth Western Australia |
| 1987 | commenced Bachelor of Arts (UWA) Visual Arts major not completed |
| 1991 | completed Bachelor of Commerce degree (UWA) |
| 1994 | completed post graduate studies (CPA) |
| 1994 | travelled Europe |
| 1996 | resigned from accounting profession to commence a full-time commitment to art |
| 1997 | travelled Japan, Europe and USA. Set up studios and painted in Provence France, Lisbon Portugal and New York. |
| 1999 | resides and paints in Perth |
| s e l e c t e d c
o r p o r a t e c o l l e c t i o n s |
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| Insurance Commission of WA | Oroton, Director’s Collection, Brisbane |
| Mirvac Fini Group Australia | Paspale Pearls, Director’s Collection, Broome |
| IBM, Perth | 303 Advertising Agency, Director’s Collection, Perth |
| KPMG, Perth | Clayton Utz |
| Duxton Hotel, Melbourne | Singapore Technologies, Singapore |
| Vogue Living Australia Magazine, Melbourne | Forrest Hotel, Surry Hills |
| Perth Flight Centre | Grafform Pty Ltd, Floreat Park |
| Broome Regional Hospital (Boardroom) | CapitaLand Residential Limited - Singapore |
| Les Friday Homes, Subiaco | Sail and Anchor Hotel, Fremantle |
| City of Stirling | Clarity Communications, West Perth |
| Balthazar Restaurant, Perth | Pro Property, Perth |
| Spowers Architects, Architect’s Collection, Perth | Harvey Norman Commercial Division, Sydney |
| Leederville Chiropractic Centre | Chiropratic for Wellness, North Carlton |
| The Dental Practice, Mosman Park | Parkmore Management Pty Ltd, Richmond |
| Novotel Hotel, Director’s Collection, Sydney | Indoguna, Singapore |
| VAT Margaret River and Bunbury | AFG West Perth |
| r e f e r e n c e s
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Homes & Living,
Spring 2006, Artist’s Ed. pp 12-22 |