A master of the art of fire, one of the most distinguished ceramic artists of Lower Silesia and, surely, of Poland as well, the visual artist Eugeniusz Niemirowski settled like a hermit in a picturesque, isolated place far from the bustle of the city, in Parzyce on the Kwisa River. He created his creative sanctuary in a former water mill, an impressive and still sturdy building that now serves entirely different purposes: here, in electric kilns, delicate, highly sought-after ceramics are fired—unique and inimitable works that are admired throughout Europe. Like pilgrims to Mecca, connoisseurs and experts, lovers of fragile beauty and admirers of ceramic paintings come here; each one is an outstanding work of art, radiating the talent of its industrious yet modest creator. Sometimes one even has to wait weeks for the inimitable jugs painted with the heart, because the master rejects mass production. He creates perfect works, complete in every detail, lovingly finished, captivating in their beauty, each one different. Hence the fame and glory, the satisfaction and acclaim, the crowds of admirers—and the disappointment of those unable to acquire a priceless trophy...
Moving from Wrocław to the countryside near Nowogrodziec required a truly manly decision: a different world, perhaps not idyllic, but quiet and peaceful, harmonized with the beauty of nature, perhaps even closer to people and to the artist. Mr. Eugeniusz, a native of Lviv, has an innate ability to adapt quickly and adjust to new circumstances, which is why he did not lose his European character in the provinces either. As before, people from across the world come to him, while renowned museums and galleries compete for his works. Talent operates like a magnet: it attracts and concentrates attention, bringing together specialists, connoisseurs, collectors, ordinary “onlookers,” and even the competition... The studio in Parzyce resembles an artists’ cultural center and a center of art with a capital “A” more than it does a hermitage.
Let us give the floor to the artist himself, who does not like to speak at length and does not pose as a great master, although his artistic achievements place him among the leading contemporary European artists:
I create my works myself from beginning to end, which is why there are not very many of them. Nor do I want to endlessly reproduce what I have already made. So I experiment with new types of glazes, and that takes many hours. From time to time, I also prepare works for exhibitions and competitions. In addition to my own physical endurance, I am limited by other considerations as well. I have to obtain the materials myself, and that can be difficult. Raw-material prices have risen and continue to increase. It is difficult to “break even” today, while pure art—for the sheer pleasure of creating and fulfilling one’s own passions—can only be dreamed of...
Every artist would like to have an individual style. The forms of the ceramic objects I make are essentially unchanging and very simple. They differ only in their methods of decoration. Sometimes these are plant-shaped motifs associated with glossy glazes. At other times, matte surfaces are covered with ornamental decoration. As for the colors, they have most often included beiges and grays, as well as glazing verging on ochres. Cracks on the surface of objects constitute a distinctive form of decoration. They, too, can be interesting.
... There is something of medieval alchemy in Mr. Eugeniusz’s work. This is how he puts it himself: “The art of fire cannot be mastered completely. It constantly brings new surprises. I, too, learn something new, gaining new experience day by day, and I suppose that will continue as long as I keep creating.”
To conclude, a few more facts. Eugeniusz Niemirowski is also a master of ceramic relief, creating original flat ceramic compositions and solid sculptures. He also paints on canvas, usually producing stylized, geometrically ordered works that synthesize the world of objects and are refined in their coloring. His ceramic works have found their way to museums in Bratislava and Berlin, and to collectors’ galleries in the Czech Republic, Slovakia, France, Belgium, Russia, Germany and other European countries, as well as the United States. Danes and Lithuanians have also recently shown interest in them, because the height of good taste is to give someone a vase decorated by a great master of the art of fire. An exaggeration? See for yourselves, should you have the opportunity to acquire a unique work.
... More than two decades ago, in 1975, Eugeniusz Niemirowski exhibited his beautiful works in what was then Czechoslovakia, in the picturesque town of Semily, which cooperated with Bolesławiec through our BOK. This unique exhibition—quite literally—conquered the entire town of our southern neighbors. Huge crowds visited it, the visitors’ guestbook swelled with expressions of admiration, and everyone considered it a point of honor to shake the master’s hand. These reactions were spontaneous, genuine, sincere and instinctive, and for that reason deeply moving. They were the fullest measure of admiration and appreciation for the artist’s work and the aesthetic qualities of his art. Similar situations are rarely encountered; I remembered this one and am recording it today in this chronicle. One valuable document also remained after the event: a beautifully published Czech-language exhibition catalogue containing a translation of my text: “Eugeniusz Niemirowski – master of color, form and ceramic relief.”
I wish you, Dear Master, many more equally successful works, captivating in their beauty, and another enchanting exhibition. Perhaps this time in Berlin, because you have been a true European through and through for years—a source of pride among artists possessing an unimaginable scale of talent, entrusted with the “divine spark,” which you must use for yourself and others. Remember that, Eugeniusz!