For the purpose of the next cycle, Mirror Phase, once again I had to free myself from the painting reality in which I had
remained. That cycle is not only a story about a mirror, but it also raises the issue of the reception of art.
Phenomena like interpreting a painting or projecting the viewer’s world on a contemplated painting (which had been
brought up in The Unknown Kingdom) gained their new meaning when I treated a painting as a mirror. The mirror
is not so much a pane reflecting the outside world as containing its own inner world. Contemplating our reflection in the mirror we are not able to say for sure to what extent it is our real silhouette and to what extent what
we want to see. The starting point for the cycle was the
conception of Alice in Wonderland but I soon realised that the mirror can be an allegory of a painting. These
assumptions led me to come closer to and understand thoroughly many processes that accompany contemplating a painting.
Stick, acrylic, 70x100 cm, 2012.
Aftervision of post-projection, acrylic, 110x110 cm, 2012.
Construction of View After, acrylic, 130x200 cm, 2013.
Exhange of Information, acrylic, 60x80 cm, 2011.
A meaningless painting, acrylic, 140x140 cm, 2012.
Crystal, 45x110 cm, acrylic, 2010.
My father’s painting in the kitchen - a church in Szczebrzeszyn, acrylic, 60x100 cm, 2012.
Reflection II, acrylic, 70x80 cm, 2011.
Deconstruction phase V by Paolo Uccello, acrylic/oil, 145x245 cm, 2012.
Garden of Living Flowers, acrylic, 100x150 cm, 2011.
Filter, acrylic, 90x130 cm, 2011.
The Absorbed Ones, acrylic/oil, 130x210 cm, 2012.
Fissure, acrylic, 40x70 cm, 2012.
Pre-painting II, acrylic, 70x100 cm, 2012.