“I am a member of a fragile species,
still new to the earth,
the youngest creatures of any scale,
here only a few moments as evolutionary time is measured,
a juvenile species, a child of a species.
We are only tentatively set in place,
error prone, at risk of fumbling,
in real danger at the moment of leaving behind
only a thin layer of our fossils, radioactive
at that.” Lewis Thomas, The Fragile Species, 1992
My art practice continues to focus on evidence of self-employed social
misery and the dark side of the human condition. In my pieces I explore
themes of tradition for self-inflicted destruction and issues surrounding
the human tendency towards egocentrism and the subjugation of everyone
and everything that is vulnerable.
My works represent post-apocalyptic versions of a human world in which
I see remains of a modern civilization whose ‘glory’ days are past.
The unknowable constructions depicted in my prints are made out of the scraps
of this collapsed civilization. Every structure present in my work appears
as manmade, which signifies a human presence in the work, even though
it is unseen.
As I believe that a person does not exist beyond the context of
their surroundings, the landscape in my works becomes the representation
of the human framework. People shaped by social and environmental factors
from the outside become factors in themselves when in contact with the
surrounding. A human experience is universal, not original. Everything
one thinks and everything one does has a beginning somewhere and an
end somewhere else.
In my work I view the human as a creature that is directed by its desire to
maximize immediate, myopic pleasure or minimize instant suffering for
itself. Vertically-oriented forms in my works represent the objective or goal
of an action resulting in hedonistic pleasure, while at the same time also
represent the culmination of this act, which can result in the end of days.
Most of my work contains photographic elements. The documentary aspect
of photography helps to validate an image as objective in the eyes
of viewers. It is, after all, evidence of something that existed in real space
in real time, recorded through an unbiased opening in a camera lens. The
mark-making of a woodcut or ink drawing, however, contains visual semantics
created in one’s mind and altered through one’s perception and
expectations of reality, and therefore brings elements that are subjective
and personal. The combination of these two, the digital and the handmade,
has been my major focus in recent practice from a technical point
I was born and grew up in Poland, a country that has experienced a difficult
history, especially through World War 2 and Communism. These factors
caused an introverted society full of suspicion and prejudice. Private
experiences, alongside my country’s history, have taught me that cruelty,
and therefore fear and anxiety, are extremely formative aspects of humanity.
Although much of my work has a dark emotional tone, through personal
experience and observation regarding my own life and place in the world,
I attempt to communicate and connect with my viewer. My main objective
as an artist is to eliminate the gap between myself and my audience. I
want my work to be a study of an individual’s struggle to find a sense of
self through reflection on one’s own relationship with surrounding reality.