The Sepia Series
The seven paintings referred to as The Sepia Series, define the earliest works by P. Kloczkowski Luberda. They were created to acknowledge the dark realities of life from a child’s perspective. They address emotional subjects with layers of psychological undertones.
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"Inner Sanctum" .....marks a pivotal moment in my artistic journey, representing a departure from safe and conventional themes towards a deeper exploration of life's realities and the profound emotional connections we share with others. At its core, the painting encapsulates the universal experience of seeking solace and refuge in times of sadness or fear—a motif often observed in the tender rituals of childhood, such as retreating to the shelter of a closet.
Central to the composition is the figure, depicted huddled within the confines of the closet, symbolizing vulnerability and introspection. Yet, amidst the shadows of confinement, a glimmer of hope emerges—a door slightly ajar, hinting at the possibility of escape. Adjacent to the figure, a secondary painting unfolds a serene depiction of a road stretching outwards, inviting contemplation on the journey towards self-discovery.Through the juxtaposition of these elements, ‘Inner Sanctum’ invites viewers to embark on a deeply personal journey of interpretation and reflection. It serves as a poignant reminder of the resilience inherent within us all, as we navigate the complexities of our innermost selves and strive towards a brighter, more hopeful future."
"expectation" ..... As we grow older, we attempt to hold onto our childhood memories, but they become fuzzy and begin to fade. A little girl’s memory of waking up daily, to have morning tea with her artist father, is precious—until it ends. Expectation expresses a three-year-old child’s perspective of the death of her father and the grief of her mother. The painting presents us with a small child, dwarfed by the exaggerated length of the dining room table, waiting for her father, who will never arrive. Blank canvases hang on a wall defining the paintings that were never painted or ones destroyed in the mother’s fit of grief. The shadowy figure in the hallway implies the loss of the father figure.
"2531n" ...... Everything seems so much larger—and so much more intense—from a child’s perspective. Chronicling the exaggerated details of a dark hallway, is 2531n. We stand behind a little girl as she opens the door to the entrance to her apartment, a long dimly lit passage, complete with a checkerboard tile floor that seems to imply a sepia-toned game of life.
"anticipation"...., a poignant scene unfolds as a young child stands by the window, her gaze fixed intently on the horizon, waiting for the familiar sight of her father returning home from work. Beneath her feet, a rug adorned with the face of a clock serves as a poignant reminder of the relentless passage of time, each tick echoing the slow and painstaking wait.
Viewers are invited to immerse themselves in the poignant tableau of a child's longing, reflecting on their own experiences of anticipation and the bittersweet passage of time.
"past imperfect" .....The view from a child’s bedroom will be etched into her mind for the rest of her life. Past Imperfect, presents this inner-city view of the residential hotel (SRO sleeping rooms only) next to her apartment building.
"city dreams" ....The imagery that is seared into a child’s mind is unforgiving. City Dreams presents the image of a sinister stranger asleep on the stairs and blocking a dark passage. The image records an event that was regularly repeated. A child seeking passage has but two choices… attempt to quietly step around the sleeping giant or scream and run past him.
"L-Tap"..The neighborhood bar where her mother was the barmaid. Children remember their childhood experiences. L-Tap shares the narrative of a colorful and unusual afterschool day-care. The painting references the child’s perspective of the neighborhood bar—looking up at patrons sitting on barstools. The painting alludes to the child’s interactions with these patrons.
