ADRIAN WISZNIEWSKI: Day Break, The Changeling and other works

29 May - 30 June 2023
Works
  • Adrian Wiszniewski Shepherds, 2013 oil on canvas 152cm x 122cm
    Adrian Wiszniewski
    Shepherds, 2013
    oil on canvas
    152cm x 122cm
  • Adrian Wiszniewski Day Break, 2020 oil on canvas 152cm x 122cm
    Adrian Wiszniewski
    Day Break, 2020
    oil on canvas
    152cm x 122cm
  • Adrian Wiszniewski - when the parot left the room
    Adrian Wiszniewski
    When the Parrot Left the Room, 2018
    oil on canvas
    100cm x 80cm
  • Adrian Wiszniewski couple
    Adrian Wiszniewski
    Couple, 2011
    mixed media
    68cm x 51cm
    (97cm x 78cm framed)
  • Adrian Wiszniewski Boy with Flower
    Adrian Wiszniewski
    Boy with Flora, 2021
    mixed media
    14cm x 11cm
    (35cm x 32cm framed)
    £ 1,000.00
  • Adrian Wiszniewski | Girl in the Mirror
    Adrian Wiszniewski
    Girl in the Mirror, 2020
    mixed media on paper
    25cm x 25cm
    (46cm x 46cm framed)
  • Adrian Wiszniewski Sex in the Landscape
    Adrian Wiszniewski
    Sex in the Landscape, 2021
    mixed media on paper
    24 x 23.5cm
    (46cm x 46cm framed)
  • Adrian Wiszniewski Nitpicking
    Adrian Wiszniewski
    Nitpicking, 2020
    mixed media on paper
    24cm x 24cm
    (46cm x 46cm framed)
  • Adrian Wiszniewski The Oracle, 2019 mixed media 27cm x 38cm (47cm x 57cm framed)
    Adrian Wiszniewski
    The Oracle, 2019
    mixed media
    27cm x 38cm
    (47cm x 57cm framed)
  • Adrian Wiszniewski The Changeling
    Adrian Wiszniewski
    The Changeling, 2016
    mixed media on board
    23cm x 14.5cm
    (44cm x 34cm framed)
  • Adrian Wiszniewski - Bloody Hell
    Adrian Wiszniewski
    Bloody Hell, 2015
    mixed media
    22cm x 18cm
    (36cm x 41cm framed)
Overview

Adrian Wiszniewski is one of the most active of the Glasgow Boys of the 1980s. His ambitious work creates dream-like images that take us through the looking glass and into a world that is just a rabbit hole away.


These eight paintings reflect the scale of Wiszniewski’s ambition. ‘Day Break’ conjures the opening up of a world (‘Nightfall,’ painted the year before, in lockdown, illustrated its confinement,) ‘Couple,’ ‘Boy with Flora’ and ‘Girl in the Mirror’ suggest inner intimacies while ‘Shepherds’ is a pastoral scene set somewhere familiar, but still at the same time removed, in another Actururian world. Wiszniewski’s experimentation goes beyond his subject matter. Even the mediums he uses remain fresh. ‘When the Parrot Left the Room,’ he tells me, was painted using oil on canvas, but applied with cotton buds.