By definition, Catharsis is the process of releasing, and thereby providing relief from, strong or repressed emotion. At its core, art is the ultimate form of catharsis offering artists infinite horizons to express themselves in a creative cleansing of the soul. So recently, when Principle Gallery approached Anna Wypych, to curate a special exhibition for their Alexandria location, Anna couldn’t pass up the opportunity to bring this concept to the masses. There was only one rule that needed to be followed, paint without restraint.
Poland-based artist Anna Wypych is an artist known for painting her soul and her unwavering freedom. Her ability to create dramatic and electrifying compositions is what makes her a leading figure in the realm of contemporary realism. The role of curator was recently added to her skillset as she ventured forth with Principle Gallery on her ‘Catharsis: Wild Heart’ project serving as Anna’s love letter to the art world and to all the artists who don’t conform to traditional standards. This exhibition which ran from 13 September – 7 October 2024 featured a variety of artists including Anna herself, Megan Elizabeth Read, Andreas Claussen, Conor Walton, Lorena Kloosterboer alongside many more. In this exclusive interview we take a glimpse behind the curator curtain to discover more about ‘Catharsis: Wild Heart’.
[Catharsis] is freedom, relaxation, and the release of creative energy. While painting and creating, one must keep the audience in mind – ensuring that the work is understandable, thoughtful, acceptable, and, to some extent, enjoyable.
Interview with Anna Wypych
How are you feeling now that Catharsis: Wild Heart is finally open and available to the public?
I am extremely pleased with the results. The exhibition looks outstanding. The advantage of group exhibitions is the opportunity to view the works of many diverse artists in one place, and in this case, true masters have been brought together – this exhibition is a real feast for art lovers. Moreover, in addition to the chance to admire the works of various artists in one place and time, group exhibitions also provide an excellent opportunity to discover the work of artists previously unknown to us.
When determining a theme for the show; how did you select the theme of catharsis? Was it a result of the paintings you’ve been focusing on or was it a concept that’s been evolving with your career as an artist?
While painting, I listen to audiobooks in large quantities. At the moment when the gallery offered me the role of curator for a group exhibition, I happened to be listening to a history of philosophy, which, incidentally, had fascinated me so much that it was already my fourth time reading it. At the same time, I was finishing one of my red paintings, slowly contemplating the project for the next one. The idea for the painting and the concept for the exhibition came to me simultaneously – like a flash of lightning. In that instant, I knew not only what I would paint, but I also had a clear vision for the entire exhibition.
This exhibition is all about creating art based on emotional release and without restraint. I imagine that ideology will mean different things to different people, what does catharsis mean to you?
What is catharsis to me? It is freedom, relaxation, and the release of creative energy. While painting and creating, one must keep the audience in mind – ensuring that the work is understandable, thoughtful, acceptable, and, to some extent, enjoyable. It can be compared to a river, whose strength and energy need to be somewhat regulated so as not to flood the surrounding area. The goal is for the viewer to feel warmed by the “fire,” not burned by it. For me, katharsis means temporarily suspending these constraints – releasing the tension. While working on a painting for the exhibition, I realized that, from time to time, I do this deliberately to preserve my energy and creativity. Every now and then, I paint something solely for myself, ignoring the rules I normally follow. These are not bad rules – I created them myself, and they help me function well in the art world – but occasionally, this uncompromising freedom adds a freshness that is essential for creating interesting and continuously new works. This is what I wanted to give to the invited artists. Naturally, I also aimed to create something intriguing for collectors – something new, as this initiative is something new in the Principle Gallery. I am very proud that they entrusted me with this project.
How have you found your role as curator? Have you learned anything new about yourself since taking on this project?
It was an incredibly interesting experience. I discovered that one can think not only in terms of a single “painting,” but also of the “exhibition” as a whole, which allows for a broader perspective on the artwork. I also learned a lot about being an artist. The interactions with other artists were extremely valuable to me – I observed how varied their communication styles are, how one can gracefully decline, and how even the biggest star artists, could be kind and surprisingly “normal” in their interactions. For example, you can chat with a major star about everyday things like couriers, or find out that they worry about the same mundane issues, such as a damaged frame during transport or the pressure of meeting deadlines.
As for myself, I realized that a quality I had previously undervalued in myself is actually more important than I thought. I came to understand that I would enjoy working with someone like me – for a simple reason: I am easy and pleasant to communicate with, and I always keep my promises and complete my projects on time.
Tell us about the paintings you contributed to this show and the cathartic impact they’ve had on you!
“The Great Splendid Fire” is about taking care of your inner fire, and taking care of yourself, I also wrote a poem that I am very proud of and that beautifully complements the painting (on my website to read). “Creature” is about accepting yourself in your entirety, also those primal, wild, and animal parts, and a little about what humanity is. “What the Busy Bees Whisper About” is about work, passion, workaholism, and finding a balance between them and the rest of life. The last of the paintings, and at the same time the largest, “Catharsis – Wild Heart – 7 Cats” is my painting that I came up with at the same time as the theme of the exhibition and it is about what the entire exhibition is about. As an interesting fact, I will say that it was with it that I realized that I was moving away from painting miniatures for a while, and now I am returning to slightly larger formats than those I have been painting for the last 10 years. It’s going to be exciting!
When it came to selecting artists for the show, what was your driving force in choosing an artist?
There were several factors, of course the main criterion for choosing was their work, but I also took into account whether I liked them and their work, and how much I would like to see their work live (since I haven’t had the opportunity yet).
There are so many fantastic works within this show that it’s hard to pick a favourite! But I was wondering, are there any pieces that particularly resonate with you? If so, which ones and why?
As a curator, I feel a bit like a parent, and I probably shouldn’t. I feel like it would be inappropriate in some way to publicly list my favorite works in a group show that I curate, and where I invited all participants.
What do you hope visitors can take away with them after viewing Catharsis: Wild Heart? The strength and courage to create without restraint perhaps?
For viewers – that your nervous system is precious and delicate and it is worth taking care of, it is worth letting out emotions and tension from time to time, and in this way taking care of your well-being. For artists – it is worth painting a “Catharsis” painting from time to time, just for you, to relax your creativity.
What has been inspiring you lately?
I attended the exhibition’s opening with my husband and son. It was wonderful to visit Principle Gallery in Alexandria, explore Washington, and then New York. My favorite museums are, of course, The Met and the National Gallery of Art in Washington. To be honest, I knew this trip would inspire me, so I intentionally didn’t start any new projects before leaving—and I was right. I am now preparing for a new painting session, and I have enough ideas to keep me painting for the next five years. Recently, my inspiration came from the trip to the “Catharsis” exhibition. All of this coincided with my move to a new studio, which acted as a catalyst for new ideas.
Anna Wypych Social Media Accounts
Website | Instagram | Facebook
