Abstrakt: | This article is an attempt to define the ambiguous specificity of artistic deflation in the
sculpture of the Wroclavian artist Leon Podsiadły. At the outset, the author describes the principle of
deflationist art and proposes a method of approach. She then discusses the “imperfections” within
Podsiadły’s sculpture, the main manifestations of which include the use of common materials and
mundane objects, secondary anti-mastery, and dememorization. These features coexist with wellthought-
out composition, the inventiveness of the choice-making artist, and the creative fascination
of unconventional artistic qualities, to which deflationist unlearning adds a unique slant. Seen from
this perspective, Podsiadły’s deflationist caprice persuasively affirms the elasticity of the oscillation
between the optics of modernism and postmodernism that defines his art. This oscillation can be
seen, for instance, in those among his sculptures that were inspired by his stay in Africa in 1960s;
in his “erotic” compositions; and in his installations of the 2010s in which he used the ready made.
His “reductive” artistic experiments testify to a need for ironic distance; they individually gravitate
toward the transgressive avant-garde and at the same time respond to the current trend of deskilling
in art. |