Where I Come From

I was born in Radom, Poland, and grew up in Tarnobrzeg. After earning my degree from Wroclaw University of Economics in 2011, I continued to expand my education and artistic horizons. In 2019, I graduated from the Eugeniusz Geppert Academy of Fine Arts and Design in Wroclaw, where I studied painting under the tutelage of Prof. Piotr Błażejewski and Dr. Anna Kołodziejczyk. I moved to Switzerland in September 2022 and since I am settling in the new reality. My observations are my inspirations. Things that are ordinary for most residents, are still strange and exotic to me.

Selected Individual(*) and Group Exhibitions:

2019 Paweł Karpinski - Painting, Line Gallery *

2018 Comfort Zone, Art-Hub Island Tamka

2018 Architectural Symptoms of Entropy, Norwida 26/3a *

2018 Night on Earth, eMDeS Gallery (Curatorial Project)

2017 Revitalization, XV Survival Art Review

2016 Big Data, XIV Survival Art Review

Statement

I have chosen visual arts and painting specifically, because I am fascinated by visual language and its flexibility. Over the years I developed an abstract style that balances organic forms and geometry. I explore how man made objects and nature influence people. I talk about an intimacy between a user, observer, tourist, bus driver and an inanimate. That interaction is subconscious on a daily basis yet still leaves a trace in our daily routine, the way we spend time and influences our mood. [The architecture of happiness by Alain de Botton].

I think of a painting as a message, which can be read and interpreted - the more specific the sending message is, the easier it is to decipher it. Each element of visual language, such as colour, composition and shape plays its role, but when I start working on a painting I only have a rough idea of how it should look. I use diluted paints and depending on the thickness of the solution I have limited control over the actual flow of the medium. I consider that element of unpredictability an external input and later decide which parts should be painted over, refined or enhanced. I use masking tape or silicone to create sharp edges. In most of the cases I leave some part of the initial layer untouched, so that all the steps remain available.

Inspired by architecture I use perspective to stack forms in a logical order to later ruin it with an irrational shadow or an object that seems suspended in air, leaving the viewer to decide which order is the most appropriate one. What seems to be obviously wrong in euclidean geometry, might be true under different circumstances.

Although I tend to draw inspiration from specific objects and landscapes I try to focus on a feeling it evokes, bearing in mind that there is no universal ‘this is how I feel about it now’. What I try to communicate using a set of available tools can be interpreted by a receiver with their own deciphering tool in a different way, given their different experiences. That freedom and self-awareness is mixed with confusion and uncertainty.