THE PROJECT
Introduction
Two languages, two eras, two ways of being in the world and in art, intertwined by a subtle and profound red thread: the thread of blood.
A familial bond that becomes an artistic connection, in an evocative dialogue between past and present, between painting and photography, between space and time. Photographer Andrea Pacanowski brings back to life the works of Felicia Pacanowska (Łódź 1907 – Rome 2002), painter of the École de Paris and his close relative, in a project that merges personal memory with contemporary creativity.
The work, created in collaboration with graphic designer Stefano Zingaro, goes beyond a simple homage to the painter, creating a synthesis between expressive forms that are only seemingly different.
Pakanowska/Pakanowski is an alchemical fusion in which painting is renewed through the photographic lens, and photography is enriched with the emotional and material intensity of painting. It is an osmosis of forms and colors that echoes the artistic movement of the 20th century, reinvented in a contemporary key.
The images come alive, transforming into a fluid, three-dimensional continuum in which the language of photography dematerializes, transcending its traditional boundaries. The metamorphosis of the image is not only visual but almost sensorial, creating a journey for the viewer: a voyage into a universe where time seems suspended and every detail hints at something deeper and ancestral.
Ertilia Giordano
I have always held deep admiration for the work of my aunt Félicia, an artist whose figure I was only able to know marginally, as she lived in Paris.
Unlike my father in temperament, Félicia was reserved and not inclined toward interpersonal relationships, with a complex character. I remember that during visits, it was almost impossible to access her works—she was particularly protective and jealous of them. Her relationship with art dealers was also difficult due to her deep mistrust.
Félicia was an integral part of the École de Paris movement, a current that, although not an actual school, encompassed a diversity of artists—many of them Jewish, like my aunt—coming from Russia, Poland, and Central Europe. These artists found in Paris the ideal place for their creative endeavors, living in the city since the early 20th century and contributing significantly to the evolution of modern art in its various phases.
Only after her passing was I able to fully appreciate the vastness of her work: from etching to aquatint, from painting to graphic art, and even sculpture. Félicia masterfully combined various techniques and printing processes, demonstrating a versatility that defines her artistic value. I consider her a multifaceted and highly talented artist, whose complex character is reflected in a body of work marked by brilliance and originality.
Her early works, figurative in nature, evolved from Expressionism to Cubism, eventually moving toward abstraction, especially in her graphic pieces.
In this project, I sought to create a dialogue between two generations, united by a shared familiarity with art, which was always present in our environment. In her figurative works, I imagined myself beside her, portraying a model: without altering the original piece, I reinterpreted her creations by integrating female bodies, with the intention of breathing new life into her subjects.
As for the abstract works, I explored a more personal interpretation, in close collaboration with graphic designer Stefano Zingaro, experimenting with new compositional solutions involving colors, shapes, and materials—eventually creating works with a more graphic and selective nature. The next step will be to focus on her still lifes.
I hope I have succeeded in reviving the sophisticated and rich work of my aunt, creating a harmonious union with my painterly photography.
This research has been a wonderful adventure for me, filled with memories and deep emotions.
Andrea Pacanowski