This work grew out from artist’s reflections on his own painting practice and conceptual art. In his Zones series of paintings (starting from 1967), he blurred the boundary between form and background. Drawing on his concept of the ‘form of continuity’, he pursued an enquiry that culminated in the Continuum painting cycle, which is based on the Möbius strip and uses red and blue.
Environment in Pulsating Red and Blue Light, composed of fluid, geometric forms and shifting colours, is not a static painting object, but rather a spatial system for observation and experience. Through a ‘choreography’ of contrasting lights of varying intensity, the work is set in motion, blurring its forms and spatial relationships.
‘In this case, it was not about the object. Equipped with pulsating sources of blue and red light that gradually rise from zero to full intensity, the forms sometimes “disappear” from sight, creating an impression of continuity that breathes in blue, violet and red . . . A sculptor “builds form” from fragment to fragment. Period. Here, the form is shaped in a single, fluid, free gesture — a bend or a twist. Of course, the object
still has its own boundaries. Yet these are softened by the seamless flow of red and blue light: the objects submerge into space and gradually re-emerge’ — wrote the author.
Jurkiewicz presented this environment in slightly different ways each time, at the group exhibition
at Pod Moną Lisą Gallery in Wrocław (1969), the Wrocław ’70 Symposium, a solo exhibition at Współczesna Gallery in Warsaw (1970) and his retrospective at the National Museum in Wrocław (2011).