MINORIA: The Active Image. Psychism and the Viewer’s mind

MINORIA: The Active Image — Psychism and the Viewer’s Consciousness presents the work of Blaze Lojewski at A Space Gallery in Venice as a new chapter of the ongoing MINORIA project. Developed by Monika Turczyńska, MINORIA investigates the unstable threshold before full form: the space in which presence, trace, potentiality, and meaning begin to emerge, but have not yet become fixed.

Lojewski’s work enters this field at a precise and necessary point: the moment when the image is no longer understood as a visible object, but as a field of activation. His paintings do not simply present form; they create a condition in which form may appear, withdraw, hesitate, or be completed by the viewer’s consciousness.

At the centre of Lojewski’s practice is Psychism — an artistic concept that shifts the function of painting from representation to activation. The work is not treated as a closed visual statement, nor as a direct expression of the artist’s inner world. Instead, it becomes a structure capable of stimulating the psychological and perceptual space of the viewer. The image does not merely show. It awakens.

This shift is essential to the logic of MINORIA. If MINORIA asks how form begins to exist before it becomes fully present, Lojewski moves this question from the surface of the work into the consciousness of the observer. What is minor, subtle, or almost invisible on the canvas becomes active only through encounter. The viewer is no longer positioned outside the work as a neutral recipient. The viewer becomes part of the process through which the image begins to mean.

Lojewski calls his works Tools. The term is not incidental. A Tool is not a passive aesthetic object; it is something that acts. It enables, provokes, opens, and transforms. In Lojewski’s practice, the painting becomes an instrument of perception, projection, memory, intuition, and self-recognition. It suspends ordinary seeing and creates a space in which the viewer’s inner field becomes involved in the formation of meaning.

The notion of the viewer’s consciousness therefore carries a double meaning. It refers both to the viewer’s inner world — memory, projection, fear, desire, intuition, and self-recognition — and to the viewer’s awareness of their own active role in relation to the artwork. The image is not simply received. It is activated through perception, interpretation, and presence.

The featured installation, Two Rorschachs Playing Chess under Mondrian’s Supervision, condenses this logic into a precise visual and conceptual field. The title brings together three distinct orders. Rorschach introduces the image as a space of psychological projection, where what is seen is never entirely contained within the work itself. Chess introduces strategy, anticipation, silence, opposition, and the logic of possible moves. Mondrian invokes the legacy of modernist abstraction, discipline, geometry, and compositional order.

Between these references, Lojewski constructs a field of tension between freedom and structure. Rorschach opens the image to indeterminacy. Chess imposes a field of relations and decisions. Mondrian introduces order, grid, and control. The work exists between these forces, becoming neither pure projection nor pure geometry, but an active image: a field in which meaning is produced through encounter.

In this chapter, MINORIA moves from trace to perception, from emergence to activation, from the threshold of form to the threshold of consciousness. The work is not complete on the canvas. It continues in the viewer. Form is not merely painted; it is called into presence through perception.

The image does not end on the canvas.
It begins again in the viewer’s consciousness.