I am a graduate of the Academy of Fine Arts. Since graduation, I have been constantly trying to find means of expression thanks to which I could implement my painting concept, different from the one learnt at the university. I think that I am a conscious painter, aware of one's limitations, but who has a certain vision of painting which I am aiming at.
The concept of my painting
For me the starting point in painting is simplicity. A modest palette of colors, economical composition and prosaic theme, because in my works I discovered that less means more. The color uniformity is also very important to me. Therefore, the picture must be built evenly based on the study of adjacent colors and the light acting on them. The object does not exist without a background and the background without an object their mutual relations only builds a color that they define and complement each other. Harmony of these parameters only forms a coherent image. My favorite subject is still life.
I am fascinated with objects and how they interact with each other, and how my brain and eyes transform these relationships that form one whole into an image.
I fully approve the words of W.Strzemiński creator of "Theory of seeing" that "It is not important in the process of seeing what mechanically catches the eye, but what man realizes from one's vision" continuing "... because man really only saw what he realized".
So before I start painting I observe still life for a long time, I think: is the color "gray" really only "gray" or is it an admixture of several other colors that change under the influence of light?
Does the white background on the afternoon day have the same light as the morning light, or is it really "only white" or is it a glow broken with other carmine colors?
How does the thick waving air look like on a hot summer's day, what is its color and how does it affect the surroundings?
Still life is a microworld for me in which objects talk either in light rays or dark shadows.
As a painter, my task is to tell about these relations in the most sensual way.
I think that "you must paint in harmony with yourself" and not with existing fashion because "in art you can give only what you have" so "only" and "as much as" yourself.
I do not paint with colors straight from the tube because for me as a professional artist it would be a violation of color. I always mix colors on the palette and then every time I check their compatibility in nature by applying a putty knife of paint to the matter to see how close I am to a given color. This process takes me a lot of time sometimes it is difficult for me to get exactly the same shade. This "Sisyphean work" is caused by the fact that I work by nature, I do not use projectors or photos. This conscious choice limits me temporarily taking into account the variability of light and hence the variability of the irradiated object or matter. If having doubt, I just use the color sketches I made earlier.
I always try to overcome my artistic limitations and dislikes because I think that we learn not from similar artists but extremely different from ourselves. By learning about their work, we complement our work and acquire sustainable knowledge. This allows us not to become "monothematic" and closed within a "painting style".
I believe that painting by method kills the painter's desire to search and develop. If we know what a chair looks like and we can paint it from memory... we don't see the particular chair we are looking at.
Nothing can be the same and identical with the same.
I paint on primed cardboard because I definitely don't like the texture of the canvas and because it gives me a wider spectrum of technical possibilities. I always use potent pigments. The color that I practically do not use is black, which does not exist in nature as such, so in itself it is something alien in the picture. I also try to paint in such a way as to eliminate the brush trace because I do not want the texture to be the leading element of my work.
My technical assumption is ever greater simplification of the image and the elimination of outlines in favor of freely interpenetrating colors that give the illusion of being kept behind a light fog.
For me, a new painting is a new task, composition or color, so none is a continuation of the last one but only a record of the collected experience of all the work done.