Artist Statement:
I find meaning of my artistic output in three aspects: theme, process, and code.
In the theme of my work, I navigate within the realm of abstract expressionism, particularly within the color field painting movement. I am interested in the metaphysical properties of the image and the search for spirituality within, beyond religious context. I explore the interaction of light with the viewer and the environment. The aim of creating these works is an attempt to impart transcendental significance to light.
The process of creating these works involves methodically and laborious layering the canvas with specially prepared paint. This process resembles a form of meditation, stripped of the pursuit of inner peace. It generates a lot of frustration and tiredness, evident in the painting whenever I miss a straight line. It becomes a kind of diary of working on the artwork.
The characteristic style in the form of a lattice reminiscent of weaving constitutes the code I employ in my creations. It sets the framework and space for artistic actions. It also positions other works in relation to large paintings and their themes. If large paintings represent a certain manifestation of the transcendent properties of light, then what, therefore, are my other works in relation to them?
All of this contributes to my deeply personal relationship with these works.
About ME:
Born 1987. I graduated from Management and Practical Social Psychology. Since 2010, I have been running a family framing business set up in the early 90s. Because of my profession, throughout my life, I have been in contact with the Warsaw artistic community. I studied painting part-time under the supervision of Artists and Lecturers of the Academy of Fine Arts who were regular visitors of the workshop-gallery.
Despite years of dealing with the painting matter, my first series, which I decided to present to a wider audience, was a collection of large-format canvases referring to the Color Field Painting.
It’s hard to define one source of my inspiration but recently, I have been discovering some convergence of thoughts with, among others, Seon Scully – in particular, in the search for some sort of naturalistic order in the large-scale, ascetic abstract painting.