Paint Exposure

The new paintings are built by constructing and removing, creating tension and unity in contrasts, colours and forms. I would like to achieve every layer as a unique and inimitable result that emanates both simplicity and mystery.

The process of creation, defined by actions and decisions regarding hiding and exposing the visibility of brush gestures, building up or destroying the planes – it influences the different aspects of perception and stimulates the viewer´s curiosity.

The works adopt the aspect of transparency in a way photography does – thin surfaces of paint appear as a kind of multiple exposure.

The wall of the world

It is about reaching the wall with your painting – nothing else. The wall of the world. What you paint is almost irrelevant – it is all about bringing the painting the furthest way possible. The canvas must be located as far as possible, on the very horizon, at the limits of comprehension. These are the walls of the world, and you are there to work on them like a worker, to touch their surface, to patch up the holes, to polish the unevenness; the fact itself that the painting is so distant, and still you have managed to reach it – will deliver a shocking picture. I always my panel or my canvas at the very end, on the border as distant as my comprehension can reach. On the border of the world. /Piotr Potworowski

The beauty is in your mind

“My granddaughter was about 11 years old and she was in Agnes’ apartment and there was a rose in a vase and she was mesmerized by the rose. And Agnes saw that and picked up the rose and said, “Is this rose beautiful, Isobel?” And Isobel said, “Yes, this rose is beautiful.” And then Agnes put the rose behind her back and she asked Isobel, “Is the rose still beautiful?” and Isobel said, “Yes, the rose is still beautiful”, and Agnes said, “You see, the beauty is not in the rose, the beauty is in your mind.” – Agnes Martin

Does everything aim for geometry?

Geometric abstract art? Looking back at my artworks I often notice their two disparate directions. One of them focuses on organizing and simplification while the other one delves into decomposition and complexity. I wonder where does the constant tendency of geometrizing, as well as the yearning for the freedom of gesture, come from. Perhaps it is worth taking advantage of this dualism and combining these contradictory ways of expression?

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