Przestrzeń I (Space I), acrylic on cardboard, 30×30cm, 2021.

I'm beginning to publish a new series "Spotkanie" (Meeting) that was created around the same time as some of the paintings from "Digital Practices of Avoiding Painting." This series came to life during an online plein air painting session held in the pandemic era. Here’s the description of the series, written while I was working on the pieces: "A meeting is a step toward something unknown. My everyday life — especially during the pandemic — takes place in a room in a countryside house, a space I don’t share with anyone. It’s a collection of objects only I understand, and a set of solitary rituals I perform in this space.
During this plein air session, I’m staying in Wrocław — and I’m sharing that everyday life and space. I’m encountering not just another person, but, more importantly, their space, their daily rituals, objects, and stories — all within a setting removed from the city noise, suspended somehow above it, slightly beyond the boundaries of my own daily reality.

#malarstwo #painting #acrylicpainting #contemporarypainting #contemporaryart #art #postdigitalart #malarstwopolskie #virtual #nostalgia

A view of my paintings from the series "Digital Practices of Avoiding Painting" during the exhibition "Best Fine Arts Diplomas 2023" in Gdańsk.

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Bezwładność (wireframe) (Inertia (wireframe)), acrylic on canvas, 105 × 150cm, 2023.

One of the latest works from my series "Digital Practices of Avoiding Painting." I modeled the characters, and the wireframe view always seemed interesting to me. The characters I created felt incredibly inert, defenseless, and hollow inside.

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Zawróć (Turn back), acrylic on canvas, 30 × 30cm, 2022.

A small work from the series "Digital Practices of Avoiding Painting". Please turn back.

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Bartek II, acrylic on canvas, 150 × 70 cm, 2022.

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Leżenie na trawie (Lying on the grass), acrylic on canvas, 105 × 85cm, 2022.

A painting from the series "Digital Practices of Avoiding Painting", based on a 3D-rendered scene where grass passes through the model of a figure lying on it. Lying on the grass has never been this comfortable...

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Broken 3D, acrylic on canvas, 70 × 150cm, 2022.

He looks miserable in the morning light.

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Luty (February), acrylic on canvas, 135 × 155 cm, 2022.

As I described in previous posts, my paintings from the series "Digital Practices of Avoiding Painting" aimed to depict the relationship between humans and technology, as well as the virtual world. Using the medium of painting, I wanted to portray contemporary life occurring simultaneously in both the material and virtual worlds. In this painting, I depicted a scene in which a group of my friends gathered around a computer – the central point of the room – to work together on music. I took this photo during an intriguing event, an online concert streamed on YouTube due to the closure of many clubs during that period. This event strongly left an impression on my memory – a group of people, enthusiasts, who create music, which binds this community together. I felt wonderful being part of that group. The person in the center is Szymek, someone I collaborated with a lot on audio-visual projects. We created our own visual universe, which, despite the end of that relationship, I continue in my own direction.

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PC building, akryl na płótnie, 160 × 90cm, 2023.

This painting is based on a photo I took while my dad and brother were assembling my new computer. For many years, I used computers that had previously belonged to my brother. The computer depicted in this painting was my first brand-new one. It was meant to help me focus on digital art, video editing, and rendering 3D scenes. This purchase significantly improved both my artistic work and my daily comfort. It's no longer just an object; it's a portal.

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Miłosz B. znika (Miłosz B. disappears), acrylic on canvas, 70 × 150cm, 2022.

The artwork depicts a frame from a video of a Zachwyt concert in Wrocław in 2022. The concert had an incredible energy - something I had never experienced before at an artistic event. For me, it was almost a spiritual experience.

At one point, I stepped onto the stage to capture the band from a different perspective. That was when Miłosz leaned over his effects. On the floor, along with the effects, cables were tangled.

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Projektor (Projector), acrylic on canvas, 80 × 150 cm, 2022.

A work in which I wanted to showcase a fragment of my painting process. In many of my pieces where I explored photography as a theme, I used a projector to outline shapes. My professor and I discussed this multiple times, and we agreed that the primary value lies in the form of the painting rather than proving the ability to transfer a design "by eye." In my technique, this also allowed me to precisely define the areas I didn’t intend to paint over, leaving them to shine with the white of the canvas.

Ironically, I transferred this particular piece onto the canvas using a grid - a much older method for controlling composition. For anyone interested in how painting can be supported by additional techniques, I highly recommend David Hockney’s book "Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters."

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Ekrany (Screens), akryl na płótnie, 120 × 100 cm, 2022.

In this painting, I wanted to explore two themes. On one hand, I aimed to juxtapose three types of "framed images" - in the background, there's a window revealing an overexposed image, next to it, an actual painting on canvas in darkness, and in the foreground, two glowing screens. Through this composition, I wanted to highlight the distinct characteristics of these three image types (a meta-painting commentary).

The second theme I wanted to address is the presence of technology in everyday life. In my paintings, I have explored the visual representation of life with computers and in the virtual world. I concluded that the best way to illustrate this was by showing technology's impact on our surroundings and bodies. The painting depicts my brother's computer setup from a few years ago. I remember it with nostalgia. Back then, my brother used two refurbished monitors and a computer that he later gave me when he upgraded to a better one. On the desk, there’s a pair of headphones - the same model we kept buying for years out of habit until they stopped making them. All of those headphones met the same fate - ending up with a broken plug that we couldn't fix because, after replacing it, only one side would work. My brother cut off all those cables and kept them "for later." "Later" came a few years ago when I started exploring technology-related themes in my art. I began attending events with a few of my favorite (headphones) cables tied around my waist as a belt.


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Dominik, acrylic on canvas, 100cm x 60cm, 2021.

A portrait of my brother, Dominik. I painted it while working on visualizing the digital world through painting. Traditional painting conventions, in my view, didn’t quite fit the depiction of contemporary life in the digital realm. I came to the conclusion that the digital world can be represented through its impact on our surroundings and our bodies.

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0%, acrylic on canvas, 90 × 90 cm, 2022.

The painting "0%" depicts a marginal space in the home (the area under the desk) where cables are tangled. The title gives this scene a metaphorical meaning – the lifelessly hanging charger cable, an ordinary element of everyday life, directly alludes to exhaustion and the powerlessness of the individual.

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Kable (Cables), acrylic on canvas, 105 × 150cm, 2023.

As part of my series, I created paintings depicting "marginal" spaces where system elements, cables, and devices, are hidden. In this painting, I chose the space under a desk, where all the cables hang. This space is illuminated by the red light of a power strip.

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Serce (Heart), acrylic on canvas, 120 × 115cm, 2023.

A short description for today: I modeled a cybernetic heart with cables instead of veins, which I wanted to place in a low-poly sink with water. I liked it, so I painted it.

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This is what my master's thesis exhibition looked like. I have already published some of my paintings on my profile – they can be found in the collection: "Cyfrowe praktyki unikania malarstwa" ("Digital Practices of Avoiding Painting.").

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Portret osoby cyfrowej (Portrait of a digital person), acrylic on canvas, 60 × 90cm, 2023.

When I was discovering 3D modeling, I really enjoyed creating characters. While modeling, I noticed the accumulation of points in the model around the eyes, nose, and mouth. These were the areas where I spent the most time, the ones that were touched by the cursor the most. I found the idea of the sculptor’s touch interesting in the context of digital sculpture. That’s why I painted this motif using paint on canvas. Painting a portrait, in my view, brings out the psychological depth of a character - even a digital one.

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From the SYSTEM catalog, acrylic painting + digital painting, 2023.

The painting depicts a fragment of a character modeled in Blender. Discovering Blender has reignited my passion for creation.

#malarstwo #painting #acrylicpainting #contemporarypainting #contemporaryart #art #postdigitalart #computer #malarstwopolskie #digital #cyber #virtual #retrocomputer #nostalgia #retroelectronics #cables #retrotech #3dmodeling #blender