As a sculptor and interdisciplinary artist I create critical and engaged art. 

In my works I try to reveal the paradoxes of everyday life and pose questions about man and his complicated relationship with the world. I focus on people observing interpersonal relations at home, on the street, in the media and on the Internet.

 

Trying to make visible what comes unnoticed and focus on various phenomena of social, political and cultural aspects, often showing them in a distorting mirror. Locally and globally.

For example “Polish Epigram” [began in 2020 ] which is an open cycle of small-scale works relating to the greatest problems of present-day Poland. Such as freedom, independence of the judicial system, tolerance, pedophilia in the Catholic Church or nationalism and others.

 

My works are thematically and formally heterogeneous, but they have a common denominator which is a conceptual intention. I aim at provoking the viewer to reflect also over himself. By accustoming him to a constant search, sometimes delicate, but essential relationships between an object, form, symbol, colour or title.
I like to compare my work to the “Koans”, a riddle or a puzzle, used by Zen Buddhists when they seek the truth or answers.

They usually take a long time to create. They are laboriously processed and carefully analysed so as to effectively strip them of their literalness without losing their meaning.

 

For example, “Mr Trendy” [2013] talks about trends and the patterns which we choose or we were pushed into. We observe the surroundings, want to be up-to-date, please others or fit into a framework, so that we can be interpreted. Through clothing, hairstyle, way of life, personal culture and many other factors. 

And we imitate them thoughtlessly. Like a banker and suit, sheikh and wealth or football and bad taste.

 

In sculpture and installation, I select materials and combine various techniques freely, often using recognizable symbols such as colour, sign, object, form, gesture. 

I like to handle ready-made objects and show a big sentiment to reject materials and waste.

What for a very long time corresponded to my own way of seeing myself as unwanted and rejected. 

This rubbish is me proving my worth.

For instance, by including waste to my works, I believe that I make it somehow immortal. Like pieces of videotapes – registers of fleeting / forgotten moments of our lives.

 

I am also interested in what is experimental, new and actual (performance, glitch, garage robotics, blurring the boundaries between the fields of art and science (…) In my creations I make use of non-standard activities, breaking with templates, and using well known things as objects, equipement or anything in an alternative way. Like “mosh pit in the temple”.

 

Apart from various size sculptures, ceramics and site-specific installations, I am also involved in social projects, performance, music, photography/video, drawing and non-invasive artistic interventions in the urban space. Through such actions I seek interaction with the accidental viewer.  Where by interaction I mean indirect actions, such as taking the viewer out of the daily routine e.g by surprise. Like in the Theory describing an infinitely large generalisation [2008] which was pure fun with the space of the underground parking of the Centre of Contemporary art in ToruĊ„ [Poland] and its temporary users.

 

Or direct interactions, such as the project How to conjure up modern art [2020], the aim of which was to explain to homeless inhabitants of Taipei the way of view and understanding of modern art for which I used their daily activities like playing mahjong.

I consider this project to be one of my greatest achievements because – homeless people talking about what they see in an abstraction art that they have made themselves.

I would say my style is to be style free and I believe that this is the way to continuous artistic development and broadening my own horizons (field of awareness, understanding, knowledge and acceptance and/or adaptation). 

For that reason, I work interdisciplinary.