Bound throughout his life to Kraków, he was born in 1953, attended the State Secondary Art School in 1968–73, and studied at the Faculty of Painting of the Kraków Academy of Fine Arts in 1974–79. After completing his diploma in the studio of Professor Adam Marczyński and an annex in print in the Intaglio Studio of Professor Mieczysław Wejman in 1979, he became a member of the Association of Polish Artists and Designers (ZPAP) in 1981.
Initially involved in the anti-communist political opposition, he was part of the Independent Culture Movement in the 1980s. In 1989 he received a scholarship from the Ministry of Foreign Affairs of Italy to Rome.
Since 1979 he has lectured in painting and drawing (initially also artistic print) at the Pedagogical University of Kraków and in 2001 was made a professor. Currently, he is full professor at the Institute of Painting and Artistic Education at the Faculty of Art of the Pedagogical University of Kraków.
Romuald Oramus practices easel painting and studio printmaking. He has presented his works at exhibitions in Poland and abroad, and the highlights of individual exhibitions include the Kordegarda Gallery in Warsaw (1944), the National Museum in Kraków (2017), and the Polish Library in Paris (2020). In 2018 he participated in the collective presentation Abstrakce.PL. Abstract Art in Polish Painting 1945−2017 created by the (Museum of Modern Art in Olomouc (MUO, Czechia).
The paintings and prints of Romuald Oramus can be found at the National Museum in Kraków, the Museum of the Jagiellonian University – Collegium Maius, the National Library in Warsaw, the Kraków Museum, the archdioceseean museums of Katowice, Kraków and Warsaw, the Silesia Museum in Katowice, Contemporary Art Museum in Frankfurt on the Oder, the Computerspiele Museum in Berlin, the Polish Library in Paris, and in many Polish and foreign private collections.
In 2016, he received the “Thank You for Freedom” Medal of the Solidarity Network Association in Kraków, and in 2017 – the Gloria Artis Bronze Medal for Merit to Culture.
Cathedral Painting Cycle 2007–2021
We are entering a labyrinth. The cathedrals of Romuald Oramus lead us into the meandering geometry of Gothic walls pulsing with the colours of vitality. When we contemplate these works, we should allow ourselves to drift among the horizontal and vertical guideposts. Let us never be afraid to explore the most hidden recesses of architectural mysteries.
In the perspective of the artist, the cathedral is not merely a religious object, but an attempt to visualise the order of the world and man in this labyrinth filled with mysteries. Its materiality and space, both enclosed within stone walls, symbolise the synergy of flesh and spirit. The architectural constructions on Oramus’ paintings let us perceive not just immobile structures overwhelming us with their severe monumentalism, but living organisms brimming with inscrutable vitality. They have become the space of struggle between the inherently materialist corporeality and transcendent spirit that escapes human comprehension.
The paintings lure us into this organic labyrinth with a plethora of colours and shapes. The shades of red, yellow and orange filled with vitality let the spectator taste a combination of pigments and the light of colours emanating from them. By contrast, the profound black and navy blue immerse fragments of canvas in enigmatic, often menacing shadows.
What will we find while treading among the intriguing walls of the Cathedral? The profanum pulsating within its walls or the sacrum invisible to the human eye? Let us search for both of these things…
Proust’s Cathedral print cycle 2016–2019
Subjective comprehending of what was,is, and will be,enveloped by the metaphysical thought of Marcel Proust in his novel In Search of Lost Time,became an inspiration – it absorbed the reflections of the artist first and eventually took shape on paper surface.Subsequent prints refer to selected stories from the masterpiece of the French writer. Each plot is set inside a Gothic cathedral whose architectural perfection was used by Proust to build the framework of literary composition.
Let us submerge in transcendental divagation the essence of impermanence. The cycle of prints will draw us into a voyage on the unending scene of life, pulsating with longing, excitement, and anxiety. The axis of time present in the works of Romuald Oramus follows the meanders of represented situations and contexts. Yesterday, today, and tomorrow meet outside the present time in the experiences of human beings dispersed under enormous vaults among the thicket of columns and labyrinth of arches.
The one who dares to face Proustian perception of time will find in this cycle of paintings and prints a mirror reflecting the subjective vision of the artist. When we look into it, will we see our ownreflection?Certainly. This is the meaning of works of art – inviting to join a common reflection about the essence of time – so fleeting and far from any objectivity.