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Analysis 2026.

Watercolor, cardboard, 50×35 cm. Behind the house, analysis 1 
Watercolor, cardboard, 50×35 cm. Analysis 2 
Watercolor, cardboard, 50×35 cm. Analysis 3 
Watercolor, cardboard, 50×35 cm. Analysis 4

 

 In my paintings, I analyze my mental state, which elements of reality—organic and inorganic objects—produce artistic effects after being transformed by the mind. 
 
Painting description: Behind the house, analysis 1 
Placing my self as a realistic figure, which I experience as myself, for example, seen from behind or from any other perspective, is impossible due to the countless possibilities of capturing this figure as real. Therefore, this figure must be split into individual fragments, or plastic forms. 
For example, 1—the form of the head, the mind transmitting impulses to the hands through reactions occurring within it, and 2—the hands holding the inorganic form are split into individual parts for reasons similar to the figure of my self described above. 
The background and other fragments of the painting in the background represent the surroundings of the situation, perhaps with the exception of the shot of the fragment of pants 3 in gray, which belongs to the figure in the foreground.
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2025.

A vast sea of ​​night and loneliness spread around the solitary figure of a man against a background of sickly whiteness. Acrylic, cardboard, 50×70 cm.
Private collection, Poland.
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2025

Acrylic, colored paper, 50×70 cm.

A good day, the painting bears the inscription “made based on a sketch made earlier, what shapes my mind and what changes reality.” 

Elements of the form of the figure presented twice. The form in the background, presented as the shadow of the foreground figure, makes contact with reality in a gesture of reconciliation (circular form). The foreground figure connects with the surrounding reality through lines and signs, and thus our mind is created by what surrounds us. The traces of reality left behind penetrate our consciousness, shaping it indirectly through visual signs. 

 

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2026

Mixed technique, colored paper, 50×70 cm.
Contact 2026, mixed media, colored cardboard, 50×70 cm. 
The painting bears the inscription: “In all representations, the first must be homogeneous with the second.” 
The painting features two sculptural forms of heads, one on either side of the image, with outstretched arms. Between them, the space is filled with a world of colorful sculptural forms—lines, signs, and spots. The existence of this space, interpreted differently by both sides, is a boundary where a thread of understanding occurs. It is clear, however, that there must be a third element that makes this understanding possible.
Mixed technique, cardboard, 50×70 cm.

Objective Definition of Things, 2026, mixed media, cardboard, 50×70 cm.

 The painting bears the inscription: “The definition or order inherent in things is conditioned by the existence of time as a condition for viewing reality.” 

The viewer, forced to reflect on the existence of reality, creates a mental reaction that directs consciousness toward the existence of the object as a visual form. 

 It is not without reason that among the visual forms defining objectivity, two organic forms are placed for contrast, which are connected with the objectivities and integrated by them. The whole is expressed and placed within a specific time.