Green Shoal, plastic material, acrylic, variant format, 2013

The Green Shoal work in its formal layer is the sequel to my previous research concerning the interpenetration of sculpture and painting, plane and space as well as creating tensions between them. It could be called the tension between such categories as object and landscape. This work touches upon the issue of transitions from illusive object’s space into the space of real, three-dimensional object.

The cycle of works including the word ‘shoal’ in the title concerns also, in the natural way, questions of large quantity, set of units creating as a group the new unity – new organism.

Another key words connected with that work are: unit, particle, individuality versus unity, scheme, collective consciousness. The Green Shoal was created at the turn of 2012 and 2013 and therefore it is included in the cycle which I called Botanicus. The work was built from numerous elements and it can be installed in various setups depending on the place of exposition. For the sake of the Spring solstice exhibition the work was prepared in the form of installation suggesting uncontrolled proliferating. It alludes to the theme thanks to its expansiveness, alarming coloristic intensity and vitality. ‘The units’ spring up like mushrooms from ‘every corner’ even from the parquet floor and they spread all over the walls settling even the neighbouring piece of art. Solstice as an unpredictable in results potential of green plant-like creatures. The form has elements alluding to the world of plans as much as the world of animals (for instance by depicting movement). The idea is to confront the spectator with the form which would cause unusual feelings and more intense, ‘suspicious’ attention towards the vegetation which could seem to be ordinary at a glance.

Three sculptures for the springtime blues, juice vacuum storage bags, glass dishes, 2015

The work Three sculptures for the springtime blues in its most external substantial layer is the answer to the issue known in medicine as the ‘spring fatigue syndrome’. It shows in more or less hilarious way (depending on the sense of humour of the receiver) the idea of ‘sculpting’ one’s shape, which I managed to experience while consuming fresh juices – a necessary mean in terms of solstice. In the deeper, more formal layer it is a continuation of my personal consideration concerning the limits, sculpture, disciplines and art in general. In the processual aspect the work alludes to the acts and gestures of such artists as: Piero Manzoni (The Artist’s Breath) or Marcel Duchamp (50 cubic centimeters of air from Paris) in which the entire process of work creation is completely subordinated to the idea and can be limited to the formative gesture.

Spring solstice, group exhibition, BWA in Tarnów, 2015