I’m a visual artist who works mainly with oil painting and documentary photography, and sometimes I makes short films from a mobile phone. From 2013 I moved to Northern Norway in Tromso. 2007 I defended my diploma with honours at the Academy of Fine Arts named by Wladyslaw Strzeminski in Lodz/Poland and I took part in several exhibitions both in Poland and in abroad; and made numerous trips around the world on a bicycle, which had a significant impact on my artistic approach to my paintings. My interest in the paintings coming from deep need to create an artwork that can stimulate viewer to reflect on the contemporary world that surrounds us and raise questions in viewer mind. The subject of my artistic research is „Dynamic forms in a static image in the context of research on the stream of consciousness”, where the stream of consciousness is treated as a metaphor. Why? Because it cannot be defined regardless of time. The stream assumes duration, duration in time. It is a kind of consequence, which means that whatever flows through the present moment is partly based on the past but is constantly supplemented by the future.The theme of my previous paintings, between 2008-2019, oscillates around friendship, music, pleasure and everyday life of various people in their social and cultural environment, thus inspired by my travels around the world on a bicycle, but since 2019, since the outbreak of the pandemic Covid19, my works have been moving more into symbolic and surreal scenery, using the stream of consciousness, which I started to be more interested in thanks to the literature of Virginia Woolf. From that moment, I began draws the inspiration from dreams, historical events based on archival photography, news in the world and I commenced the question: how can a static image be associated with a stream of consciousness?
In the process of creating an image, the artist shows various associations in the stream of consciousness that stimulate the imagination and emotions. It may be a fragment of a book or shapes emerging from the paint strokes; an ordinary thought that appears in the artist mind at a given moment in connection with a newspaper article the artist is reading during the break, or a chance meeting in the corridor with someone who could evoke certain emotions in the artist (in psychology called sublimation – which is unconscious protecting mechanisms, consisting in pushing back an unacceptable drive for creativity). The uncertain times in which we live now invite the viewer and myself to reflect on present moment and also perceive the works of art in the same way.
Currently, I’m inspired by art works of the old masters and historical etchings, to give some: William Hogarh, Thomas Couture, Jacques-Louis David, Theodore de Bry, or artist such as Edouard Manet, and also by old archival photography from the times of different wars and suffer. These old and vicious historical events of struggle that some of them date from Mediaeval times, are juxtaposition with numerous contemporary examples of barbarous action that happens all over the world including Europa in XXI century. By making copies of old masters or recreating old archival photography, I try to literally point up and reflect on how this historical experience is passed (consciously or unconsciously) to the next generation and how it influences cultural identity, the nationality of the group and the individuals. This contrast shows that the history tend to repeat in the same way, but in different time circumstances. Reflecting on the repetitiveness in the history and in my paintings, I came a cross by a French philosopher Gilles Deleuze and his book “Difference and Repetition” from 1968, where we read: “ Art is often a source of repetition because no artistic use of an element is ever truly equivalent to other uses”. He goes on to define repetition as „difference without a concept”… Repetition is thus reliant on difference more deeply than it is opposed. Further, profound repetition will be distinguish by profound difference”.