BIO
As a child, I was good at drawing and math. I was equally passionate about both areas. However, I did not grow up in an artistic or scientific environment, so in the realities of communist Poland at the time, my future path seemed predetermined, and drawing gradually gave way to pragmatic choices. I continued to create art during my studies, but after I started working, my old passion gradually faded.
Since childhood, I have struggled with impaired hand-eye coordination. The line I draw trembles against my will. Every drawing cost me a great deal of effort back then. That made it all the easier for me to forget that part of myself.
I returned to the world of art unexpectedly after a few years of working as a data analyst. I discovered performance art and butoh dance theater. An intense journey began: spectacles, workshops, every possible encounter with this world.
However, my body reminded me of its limitations. During one of the workshops, my movements got out of control, I fell and suffered a serious injury that prevented me from participating in movement practice for a long time. That’s when I bought my first camera to document my friends’ artistic activities.
And so, since 2005, I have been photographing dance theaters.
Work with photography and photo-editing software became the impetus for further exploration. I began experimenting with photomanipulation and abstracting images. I discovered tools that use noise, distortions, and algorithms.
Work with photography and photo-editing software became the impetus for further exploration. I began experimenting with photomanipulation and abstracting images. I discovered tools that use noise, distortions, and algorithms.
This opened the door to creative freedom. Physical limitations no longer mattered, only imagination counts. I can combine mathematical thinking and visual sensitivity by designing my own algorithms.
Drawing has returned to my process. Today, it serves as a sketch, a record of my thoughts, and the final stage when I refine the image that emerged from my work with algorithms.
ARTIST STATEMENT
Photography
A photographer specializing in documenting dance theater, recognized by the community as a person capable of capturing the essence of movement on stage. His work reveals a sensitive observation that goes beyond technique, touching the very core of dance and the body. The art of photography intertwines here with rhythm and a sense of gesture, born of experience and perfected through precise framing and a conscious choice of the moment.
The artist’s photographs feature bodies: focused, dynamic, stretched to the limit, absorbed in movement, full of passion. The composition of planes, stage lighting, and set design co-create the structure of the image.
Digital graphics
Digital graphics
I create digital graphics by transforming my photographs and pushing them to the limits of recognizability. A tension arises in this space: abstraction meets meaning, and the eye begins to discern shapes.
This method is reflected in the series “Implied Gestures,” “Inner Cities,” and the album “Thicket, Warp, Fascia,” where I consistently seek new formal solutions.
In “Thicket, Warp, Fascia,” my attention was drawn to the existence within the body of every living being of an omnipresent, dynamic, fractally complex tensegrity structure. The geometry and forces acting within this structure determine the unity, shape, and balance of the body. It is just as in the case of elementary particles, whose geometric arrangement, together with the interactions between them, determines the properties of matter.
I also design generative graphics. I create algorithms that give the image a specific rhythm, drawing on mathematical transformations and noise. Fantastic abstract forms emerge from deterministic chaos, surprising the viewer with their simplicity and complexity at the same time.
I also design generative graphics. I create algorithms that give the image a specific rhythm, drawing on mathematical transformations and noise. Fantastic abstract forms emerge from deterministic chaos, surprising the viewer with their simplicity and complexity at the same time.
The series “In The Mind Of The Child” and “Vacuum Mutations” are examples of this approach.
In recent years, my creative process has evolved into a multi-stage one, incorporating numerous digital techniques.
In recent years, my creative process has evolved into a multi-stage one, incorporating numerous digital techniques.
Since 2022, these have included machine learning (ML) tools, which are misleadingly marketed as artificial intelligence. These algorithms are no more mechanical or artificial than, say, the 200-year-old art of photography. Nor do they have much to do with intelligence. They are highly complex predictive models that attempt to predict the image that best matches the input data statistically, nothing more.
When working with ML models, I choose a different path than striving for realism and mimesis. I deliberately provoke the algorithm to generate images detached from literalism, based on non-obvious arrangements and forms. I often reach for old ML models that have a strong tendency to hallucinate.
When working with ML models, I choose a different path than striving for realism and mimesis. I deliberately provoke the algorithm to generate images detached from literalism, based on non-obvious arrangements and forms. I often reach for old ML models that have a strong tendency to hallucinate.
From the resulting images, I select those that resonate with what I’m feeling at that moment. I give them individual meaning and stylistics.
My artistic practice helps me recover pieces of childhood that slip away from memory and allows me to better understand those elusive, hard-to-define moments. I am fascinated by moments when everyday reality takes on a different dimension, when the body, space, familiar objects, or simple abstract forms become a starting point for exploring fleeting states of mind, an impulse for new experiences. I want my art to evoke such images and associations.
The entire process is more complex. Initially, I experimented with “text to image,” but the results didn’t meet my expectations. Currently, I use almost exclusively “image+text to image,” transforming my photos, sketches, and earlier graphics. Sometimes a single piece emerges after many iterations, if the composition particularly draws me in.
My artistic practice helps me recover pieces of childhood that slip away from memory and allows me to better understand those elusive, hard-to-define moments. I am fascinated by moments when everyday reality takes on a different dimension, when the body, space, familiar objects, or simple abstract forms become a starting point for exploring fleeting states of mind, an impulse for new experiences. I want my art to evoke such images and associations.
The entire process is more complex. Initially, I experimented with “text to image,” but the results didn’t meet my expectations. Currently, I use almost exclusively “image+text to image,” transforming my photos, sketches, and earlier graphics. Sometimes a single piece emerges after many iterations, if the composition particularly draws me in.
The randomness inherent in these techniques makes the results difficult to predict. This is a source of discovery and an encouragement to experiment and seek new meanings. I create visions that balance on the border between abstraction and surrealism, opening the field to interpretation.
After generating a series of images, I select the best ones. I then perform post-production, which includes image cleanup, color correction, and preparation for printing. This process is very similar to the photographic process.
After generating a series of images, I select the best ones. I then perform post-production, which includes image cleanup, color correction, and preparation for printing. This process is very similar to the photographic process.
I often add drawings - both freehand and those created using generative algorithms or glitch techniques.
I have noticed that questions about boundaries recur in my work: between the organic, carnal and the constructed, mechanical; between the simple, orderly and the defiantly chaotic, complex; between the beautiful and the fascinating; between the mobile, flexible and that which is as solid as a rock.
I have noticed that questions about boundaries recur in my work: between the organic, carnal and the constructed, mechanical; between the simple, orderly and the defiantly chaotic, complex; between the beautiful and the fascinating; between the mobile, flexible and that which is as solid as a rock.
I also notice a paradoxical tension between the apparent simplicity of generating an image and the complexity and ambiguity of its interpretation.
