Zawistowski’s paintings hover between the visual cliché of the religious icon and the immediacy of their sculptural surfaces: the gouged and gooey paint literally materialises the spiritual subject, making it matter. There’s historical resonance to all this, since it might be said that the materialisation of the immaterial was the motor behind great leaps in painting during the Renaissance, but there’s more going on than that in Zawistowski’s work.

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