‘The form is the outer expression of the inner content’ – wrote once Wassily Kandinsky. Having in front of us the artworks of Barbara Cyran from the ‘Polistructures’ series we perceive the form, however, not only as the aspect affecting the content but the content in itself. This thinking is deeply ingrained in the antique culture that combined the form with the function of the abstract content self-determination. Undoubtedly, Augustinian modus species et ordo [Latin: mode, species, and order] is preserved by the artist during her artworks creation. The accumulation of the references to the art history is not only an irrefutable proof of the purposefulness of Barbara Cyran’s art but also an evidence of its deep comprehension.‘Polistructures’ is the exploration of from and colors but also a method for the artist to express herself through the purely mechanical work. ‘Forming’ here is holistic and the creation process is the unquestionable part of the artwork itself. This part of the exploration, the overlapping of the structures and colors leads us directly to Mondrian’s mimesis that rejects variable elements of nature. It results mainly from attentive observation but also from purely exploratory aspects.

The emphasis of the structures with the color, allows to see the form that interests the artist. This coloristic structurality takes us directly to the zone of harmony, order, and ideal rhythm. In fact, this unshakable rhythm is building Barbara Cyran’s artworks as soothing and hypnotic. Dominating patch of color, sometimes a well pronounced color accent appeal to the viewer so as to finally gently embrace them with the idyllic arms of abstract art. What is significant for this form of art is a strong expression radiating form the artworks which is soothed by geometrical structures transcending the physical frames of the painting. The openness of the artists’s creation is exceptionally polysemous and puts the observer ahead of the artwork. It is the observer who is in charge of interpretations arising from deep aesthetic experiences. ‘Polistructures’ are by no means overloaded. They do not weigh us down thanks to the perfect arrangement of structures and rhythms. Moreover, the application of the steel plate as the base is a silent homage to Time that indisputably leaves an imprint on the artist’s creation. It is from Time that the structures are born. It is Time which will let them last or maybe change their tone and give them new meanings.’