POST SCRIPTUM English__ Feb 2021

POST SCRIPTUM - Independent MAGAZINE OF LITERATURE & ARTS - English version. POST SCRIPTUM - Niezależne pismo artystyczno-literackie tworzone przez polsko-brytyjski zespół entuzjastów, artystów i dziennikarzy. Zapraszamy do lektury.

POST SCRIPTUM - Independent MAGAZINE OF LITERATURE & ARTS - English version.
POST SCRIPTUM - Niezależne pismo artystyczno-literackie tworzone przez polsko-brytyjski zespół entuzjastów, artystów i dziennikarzy. Zapraszamy do lektury.


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ISSN 2633-1292<br />

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<strong>SCRIPTUM</strong><br />

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FEBRUARY <strong>2021</strong><br />









A L I C J A<br />


C R I M E<br />


P H O T O G R A P H Y<br />

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PROSE:<br />

36. Drunk Bitch – Short story – Jarosław Prusiński<br />


4. ORAPISM: A new style in Art – Krzysztof Konopka – Kararzyna Brus-Sawczuk<br />

16. Loui Jover – Ink, guash and old books – Renata Cygan<br />

26. Irene Sheri Vishnevskaya – Special guest – Renata Cygan<br />

42. Italian photographer Damiano Errico – Like great masters – Renata Cygan<br />

54. Dariusz Klimczak – Photography – Renata Cygan<br />

66. Alicja Stańska – On The Other Side Of Crime – Katarzyna Brus-Sawczuk<br />

82. Monika Cichoszewska – Photography – Jarosław Prusiński<br />

92. Sebastian Mon – Melancholic Industrialism – Renata Cygan<br />

110. Krzysztof Łozowski – What is ‘Łozowsko Wielkie’?<br />

POETRY:<br />

14. Anna Maria Mickiewicz<br />

24. Metin Cengiz<br />

38. Renata Cygan<br />

52. Marek Porąbka<br />

53. Ryszard Grajek<br />

64. Juliusz Wątroba<br />

74. Arco Van Ieperen<br />

76. Izolda Kiec – About Ginczanka<br />

88. Agnieszka Herman – Recomended<br />

90. Irina Kovalyova<br />

100. Juliusz Erazm Bolek<br />

102. Poetry Festival in India<br />

ENJOY !<br />


We welcome and value your comments and<br />

opinions on the magazine. Feel free to email us:<br />

postscriptum.mag@gmail.com<br />

fb:post scriptum<br />

The cover: Irene Sheri Vishnevskaya<br />

EDITORS: Renata Cygan – Editor-in-Chief, Jarosław Prusiński, Joanna Nordyńska, Katarzyna Brus-Sawczuk,<br />

Izolda Kiec, Juliusz Wątroba, Ewelina Kwiatkowska-Tabaczynska, Robert Knapik, Katarzyna Saniewska<br />

TRANSLATORS: Olga Sawczuk, Katarzyna Landen, Renata Cygan<br />


Andrea Kyriakou, Liz Drapper, Monika Cygan, Ania Cygan, Benjamin Becula.

Dear Readers,<br />

Unfortunately, we are still pandemically confused and frustrated,<br />

we glide through life without mindfulness or deliberation. Living in<br />

a fast--paced world, focused on trivial things, and we too often forget<br />

about our soul. In a world where pop culture (and often subculture) has<br />

dominated higher culture. The pandemic made us see this shallowness<br />

and insignificance of the rat race. We stand stunned because someone<br />

has taken away the treadmill on which we were racing, trotting in place.<br />

In this strange world, it is Art that allows us to survive. A good film,<br />

or book, an extraordinary painting, or poem. How badly we need it now!<br />

However, here we have another issue of <strong>English</strong> version of Post Scriptum<br />

to give you an artistic break during these difficult times. I am sure you<br />

will find a host of inspiring art gems in here. Trying to maintain a general<br />

artistic character, we present you diverse material, in line with the<br />

principle of “something good for everyone”.<br />

What is Orapism? How many photographic techniques are there to<br />

taking an artistic photo? What is Łozowsko Wielkie? Why a square?<br />

And how can you give a second life to damaged books? We answer<br />

these questions and more in the following pages. Our special guest in<br />

this issue is the great Russian painter – Irene Sheri Vishnevskaya. Her<br />

p a i nti n gs are excepti o n al , an d h er l i fe p roves th at any th i n g i s p o s s i b l e.<br />

I am also fascinated by a very interesting article by prof Izolda Kiec about<br />

the legend of the Warsaw Bohemia of the interwar period – the Polish/<br />

Jewish poet Zuzanna Ginczanka.<br />

And as always – the articles are interspersed with lots of original poetry.<br />

We wish you a wonderful artistic journey through our magazine.<br />

Renata Cygan<br />

Editor-in-Chief<br />

PS. If any of you would like to support us in any way: send interesting<br />

materials, tell us about an artistic event or an artist, cooperate on<br />

a non-regular or permanent basis – please contact us. You can also<br />

support us financially by paying a small amount to our account:<br />

SORT CODE: 309626 ACC Number: 57418160<br />

IBAN: GB82 LOYD 3096 2657 4181 60<br />

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“Orapism – an art style<br />

characterized by its expressive<br />

message with the use of sharp<br />

lines and energizing colours.<br />

During the last Biennale festival,<br />

the artist was recognized as<br />

the precursor of a new form of<br />

Abstract Art – ORA PISMO, now<br />

a script, a sketch, a drawing, a<br />

ritual, which, according to the<br />

critics, develops the Abstract Art<br />

and gives foundations for a new<br />

style of artistic interpretation.<br />

The artistic creation is immediate<br />

and thus shows the moment of<br />

wild awakening of the artist”<br />

Margherita Blonska-Ciardi

Pillory<br />

Action-reaction,<br />

author-recipient,<br />

subliminal message,<br />

mirror image.<br />

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swirl<br />


In front of me: a man with attentive eyes, in his prime.<br />

He is smiling. A face like that says a lot about a man.<br />

It arouses curiosity.<br />

Behind him, on a wall, an extensive carnival of colours<br />

in wide frames. I met Krzysztof Konopka in 2010 – he<br />

was a promising dental implantologist, in a constant<br />

race for knowledge. Occlusion, implants, surgery.<br />

An artisan with imagination. We haven’t seen each<br />

other for ages. Now I see a mature artist, who has been<br />

exhibiting his work in important European galleries<br />

and is now preparing for his first exhibition<br />

on the other side of the globe.<br />

Krzysztof smiles.<br />

It is me, I am a human being, who for the whole of his<br />

life, has been looking for something, and now I have<br />

found myself in Art! Before that I had been drifting<br />

in a sort of limbo, then I started to live.<br />

My works are oil paints, painted on canvas with a spatula.<br />

It all happens completely subconsciously. On one hand:<br />

painful “rasping”, “o-rasping”, “oraping”, and on the<br />

other: emotional creation of new forms and colours,<br />

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the artist paints in layers in such a way<br />

that underneath colour surfaces come out<br />

and mix with new layers.<br />

of a blend in which I try to be my real self. I call it<br />

“orapism” and to my surprise the style has been<br />

named and recognized as a new abstract genre.<br />

Exactly – Margerita Blonska-Ciardi, a noted art critic<br />

writes:<br />

“With spontaneous movements of the brush<br />

and spatula, the Polish artist wrinkles, rasps<br />

and scrapes the surface of the canvas. Driven<br />

by emotional chaos, he adds layers of colours<br />

on the previously painted figures (…).<br />

He transfers his fresh and natural gesture. (…)<br />

he takes out our feelings, catches them in his<br />

colourful web of different patterns.”<br />

Krzysztof not only there has been a breakthrough in<br />

your private life, but also in artistic genres.<br />

“Ora-pista” is a Portuguese word for “to track now”.<br />

There must be something to it. “Action-reaction,<br />

author-receiver, subliminal message, mirror<br />

reflection”. It took me fifty years to gather enough<br />

experience, and then suddenly my ability to transfer<br />

emotions from myself to the canvas suddenly<br />

blasted off. It became the sense of my life. I have<br />

never followed any other painter, maybe except for<br />

Malczewski. It was later, when I confronted painting<br />

and created my works, that the critics saw more in<br />

them. They gave them the name, and they found<br />

me within them. I have never studied art, I wanted<br />

a fresh start; It’s like with sex: you can read lots of<br />

literature about sex, but there is no satisfaction from<br />

just reading! The experience only matters if you try<br />

it! I think that if I had filled myself with art books,<br />

with these techniques and rules, like so many people<br />

told me to, my orapism would have never happened.<br />

This simple comparison to sex: “Work on your<br />

technique” … but how? It is primal, you either feel it<br />

or you don’t.<br />

Krzysztof, experts in the art field have called you a<br />

modern expressionist.<br />

“Yellow, orange, red – they often contrast greens<br />

and the tones of blue, just like in the expressionist<br />

paintings of Van Gogh and fauvist ones of Paul<br />

Gauguin. Some of his works are layer-painted to<br />

create colourful surfaces which emerge from the<br />

depths and at the end mix with next levels. It gives<br />

a dialogue effect between contrasting colour<br />

elements and encourages the viewer to reflect<br />

deeply on the works. These pieces lead to extracting<br />

one’s own atavistic emotions, hidden in the nooks<br />

and crannies of your subconsciousness.”<br />

– Ciardi says.<br />

So, when you scratch and trace, what do you find?<br />

Is it the painful scratching off the next layers? Is it<br />

a search for something bigger, or maybe it is contrary,<br />

an unveiling? How do your paintings come to life?<br />

At the beginning I painted several dozen paintings<br />

in a short period, I took speed to the point where<br />

I thought: “you are tiring your audience”. Then I<br />

started to approach a painting differently, sometimes<br />

it turned out that the original sketch did not survive<br />

till the end. I scolded myself – no one was nagging<br />

me, no one was forcing me to do anything. I had<br />

to stop thinking. At first, I painted with brushes,<br />

unfortunately the paint was drying out too quickly,<br />

and I still needed to add more and more layers. Then<br />

there came time for the spatula, and it became “my”<br />

tool – the media was not drying out on canvas and<br />

this allowed me to work more flexibly, to mix the<br />

colours directly on the base. Often the final work<br />

only merely resembled my original sketch. One time,<br />

after I travelled through India, I wanted to paint<br />

a Hindi man, which resulted in a vision of Indian<br />

colours of the crowded street, without any concrete<br />

figure. This example shows the lack of attachment<br />

to the original idea.<br />

Before becoming a painter, I tried writing, creating<br />

stories. I have done 70 pages and… got stuck. I knew<br />

that if I decided to continue writing I would have<br />

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to expose myself too much. When I paint, mix up,<br />

smear – it is like the wild desire, it’s eroticism. But<br />

one can hide it underneath, under all the layers of<br />

paint and thus give the viewer space to imagine and<br />

interpret. To be true to oneself and give freedom to<br />

the audience. It is the viewer who then penetrates<br />

the painting, they can transfer themselves into my<br />

imagination.<br />

Orapism is a form of freeing. When one can get<br />

through their inner lies, when one arrives at their<br />

emotions (to track oneself, to look for oneself), one<br />

wants to show this. As a result, they can expose<br />

what they feel. Then they hide it by adding more and<br />

more layers. It is the viewer who needs to find the<br />

truth. Deep down, we just want to be authentic.<br />

Being a dentist is, in a way, craftsmanship. It is routine,<br />

you know what to expect (as long as there are no<br />

complications). To be an artist is to feel and be sensitive<br />

to the unforeseen. Where do you find your sensitivity?<br />

He laughs<br />

Real-life is the source. The system has been<br />

assigning certain tasks to us ever since we were<br />

born. We are rewarded when we do well, it is all<br />

well thought through and planned. First school, then<br />

university which gives us prestige, maybe money and<br />

satisfaction… The outside pressure: “If you achieve<br />

all this, you will be happy.” Then a breakthrough that<br />

happened to our generation somewhere between<br />

communism and pseudo-capitalism. The race for<br />

consumer goods was supposed to give us the answer<br />

to who we were and thus satisfaction. To find one’s<br />

place and produce the next generation which we<br />

would be proud of. Wellbeing in a well-structured<br />

world. Being in a herd is tied up to outside pressure:<br />

we all do the same things because we are told that<br />

they are the right things to do, and that we deserve<br />

all that. We love those who are just like us, who do<br />

not stand out. So, we live up till our retirement, and<br />

then look after our grandchildren, maybe travel a<br />

little. This gives us satisfaction. But it turns out that<br />

this is the principal lie because something starts<br />

happening. Lots of my doctor colleagues are already<br />

dead, they have ventured out in this stampede.<br />

Do you think that we are losing our sensitivity in this<br />

race?<br />

We simply cannot be sensitive in it. We are alerted,<br />

armoured, resistant to stress. It turned out that<br />

the friendships made during our studies were fake,<br />

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Wolf<br />

everyone drifted away from their world in the harsh<br />

race towards satisfaction, towards job opportunities.<br />

The same thing happened to the people, who<br />

knew each other socially, from business meetings.<br />

Just after 9/11, me and my friends went to study<br />

dentistry from the best. We drove through the States<br />

– back then we thought that we’d be invincible<br />

champions, the ones who tapped into something<br />

bigger. We thought that as a group we will remain<br />

close, so many memories, learning together. Instead<br />

of that, we all got stuck in our clinics, earning money.

What was the breakthrough in your life?<br />

I went to an international convention on<br />

implantology in Porto. And suddenly it came to me,<br />

I think it was the second day of the convention,<br />

that I will no longer be tightening screws. I decided<br />

to start my new path and just like that, I walked<br />

100 kilometres to Santiago de Compostela. I was<br />

accompanied by a friend and his wife. When I came<br />

back, I ended all my relationships with people who<br />

did not approve of my decision, who didn’t even<br />

want to try to understand them. Suddenly I felt the<br />

need to paint. And I painted my first work.<br />

Who is this female figure in your paintings?<br />

We all have female and male elements within<br />

ourselves. They keep us in balance. I see women<br />

as the content, but also as the audience of my works.<br />

The moment I discover her, when the energy hidden<br />

in a woman is released, it becomes a complementary<br />

part of my life. My passion is always the same:<br />

my wife. It does not matter what the final erotic<br />

message will be, at the end it is always my wife. The<br />

love-act is when the two universes meet – the male<br />

and the female, when the exchange of energy takes<br />

place.<br />

Ciardi wrote:<br />

“The female figure is a source of inspiration for<br />

Konopka. It makes up the center of the erotic<br />

composition, emphasized by strong impressionist<br />

colours taken directly from nature, She shows the<br />

focus and the background as a whole, she blurs the<br />

border between the two.”<br />

Wilk<br />

I thought that this was my proper life, which gave me<br />

my clinic, a wife, a son (who is right now a dentist as<br />

well). I thought that this was the only rational way for<br />

me. But something was missing. That was when the<br />

hunger came to me. Two consecutive relationships<br />

resulted in nothing. It was much later when I met<br />

the woman, who was the embodiment of energy.<br />

It turned out that throughout my “proper” life this<br />

was exactly what I was looking for: the energy. The<br />

explosion was massive. My priorities and targets<br />

have changed totally.<br />

What is colour for you? The viewer can see elements<br />

of movement, for example of waves or floating clouds<br />

in contrasting, strongly fractal pilled-up layers.<br />

The colour comes from temperament. The technique<br />

of stratification gives possibilities to extract<br />

movement. Colours are pure, but ultimately when<br />

they are blended, they pulse, they allow for freeing.<br />

The figurative subject hides behind contrasting<br />

layers. This creative process is subconscious.<br />

I don’t know how it will end. There, underneath<br />

the scratched layers I invite my audience, to find<br />

their answers. Colour is the source of my conscious<br />

expression. I have discovered that using the spatula<br />

to add thick layers directly onto the canvas allows<br />

them to blend not on the palette but there on the<br />

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Butterfly<br />

Often the final image is not<br />

the result of the original idea,<br />

but only loosely based on it.<br />

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Face<br />

canvas. This is a process. I am not a theorist in art,<br />

I create through experience. I did not want to get to<br />

know anything about so-called “painting”, I wanted<br />

to paint. I paint a picture for 20 to 40 minutes and<br />

then never touch it again. I don’t do commissions,<br />

I don’t know how to paint on demand. I would never<br />

want to know that.<br />

So, you are against commercialization. It is extremely<br />

valuable these days. Since 2017 your paintings have<br />

appeared in different European galleries, they have<br />

won awards. In 2020 they were shown in important,<br />

international exhibitions in Skopje, Milan, and<br />

Rome. Not so long ago you were a guest at a gallery<br />

in Warsaw. Your paintings appeared on the poetry<br />

collections’ covers of an Indian poet, Md Taslima<br />

(2017). Your name has become well known. Which<br />

of your many awards is the most important to you?<br />

My most important award is the “spoken” story<br />

of my wife about my works. It was a great pleasure<br />

when my work was shown in Amsterdam for the<br />

first time. I took the bus with my paintings and for<br />

the whole day, I wasn’t sure if the exhibition would<br />

come to life at the end. My friend helped me, he<br />

said: “Listen, I can see you in this exhibition”. But<br />

it happened and it was a remarkable experience.<br />

I met so many important painters from all around<br />

the world. But an especially important event for me<br />

was the last Biennale Festival in Florence. My works<br />

were officially published in the catalogue under the<br />

name “Orapism”. I am very happy that I had the<br />

opportunity to appear in an Italian documentary<br />

(which is being translated into <strong>English</strong>), and that<br />

there have been good reviews. I also see my<br />

appearance in Post Scriptum as an award.<br />

To be honest… I was nervous, I couldn’t sleep<br />

waiting for this interview to happen.<br />

The colourful butterfly on your last painting, is it<br />

breaking free? Is it you?<br />

The butterfly shows delicacy and unconditional<br />

devotion. You can expose yourself like that only in<br />

front of great trust. A beautiful butterfly is sensitivity.<br />

So, at the end it is breaking out from limbo.<br />

You set him free. [KBS]<br />

www.orapizm.art<br />

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My home city<br />

The March sun wants to penetrate the city with its daggers<br />

On the edge of a precipice, a preapprehension of white silence<br />

Warmness of the uplifting blue<br />

Forsythia intoxicates the senses<br />

To sit with my mother<br />

To moisten my mouth with hot tea<br />

To marvel<br />

To sadden...<br />

The time of surprise meetings passes away<br />

Winter is behind us<br />

There was no one like that<br />

Will there be one in a hundred years...<br />

Steppe wind on the hill<br />

Surprised, we backfill our eyes with a dream ...<br />

Anna Maria Mickiewicz<br />

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photos: Renata Cygan<br />

RC<br />

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Having taken up drawing as a child, Loui Jover has been an artist all of his life.<br />

He has continued to develop and evolve his artistic style through his years<br />

of practice and his works show a depth and understanding of subject and<br />

medium.<br />

Loui’s works are ink drawings on connected sheets of vintage book paper,<br />

a medium he prefers due to the aged character of old book pages from ruined<br />

books. His paintings are collected throughout the world, and can be found in<br />

many public, corporate and private collections. Lois Jover is a full time artist<br />

residing in Queensland Australia with his family.<br />

Like all people I started drawing as a child,<br />

however unlike most other people<br />

I never stopped drawing.<br />

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Firstly, let me say that I am flattered that you agreed<br />

to share your beautiful art with Post Scriptum readers<br />

and to have this little chat with me. To prepare for<br />

this conversation, I have read lots of articles and<br />

interviews, studied your art and followed you on<br />

Facebook. And I came into conclusion that you have<br />

answered every possible question anyone could ask.<br />

But I would love to share your beautiful artwork<br />

with our readers, give them some facts about an<br />

extraordinary artist called Loui Jover, so forgive me<br />

for not being too original…<br />

You used to paint with oils on canvas, but at some<br />

point, decided to switch to ink on paper. Why is that?<br />

I did used to paint in a very different style using oils a<br />

long while back but decided I actually liked drawing more<br />

than painting, which I found slow and cumbersome.<br />

Drawing is flowing, and ink dries almost instantaneously<br />

compared to oils, plus I could draw far more<br />

competently than I could paint.<br />

You say that you don’t draw stories, but I can definitely<br />

see some touching stories in your drawings. There are<br />

emotions, passion, movement. I have also spotted that<br />

on many drawings there is a little blue bird. What does<br />

the bird represent?<br />

The bluebird represents a counterbalance for the<br />

subjects which can be forlorn or dark in mood at times.<br />

The bird shows that hope is still present. In other works,<br />

it offers a minor mystery and colour point. Of course<br />

every artist tells some kind of story no matter how<br />

minimal, however my point is that there is no strict<br />

message to the works or pointed meaning other than<br />

the one which the viewers themselves want to create.<br />

I like art that allows the spectators to imagine their own<br />

story.<br />

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Do you make a living out of your art?<br />

Yes, I do make a living from my work, it is a very<br />

fortunate situation, so I never take it for granted.<br />

You draw lots of beautiful women – mainly faces.<br />

Who are they? Do people pose for your art?<br />

Do you use models?<br />

I don’t get shy or strict about subject matter as it<br />

is the act of drawing itself that interests me, so the<br />

faces are posed, not posed, inspired from other<br />

media, or made up. The journey is exciting for me –<br />

– not the destination.<br />

Where do you work? Do you have a studio?<br />

I work in two studios – one for larger works which is<br />

not too far from my home, and one smaller studio<br />

for smaller drawings which is in my back yard.<br />

I can guess that book lovers could be shocked that<br />

you draw on book pages. I know that you only use<br />

old, damaged books. But why books? Where did<br />

the idea came from?<br />

I got the idea to draw on book pages many years<br />

ago when I saw that the local charity depot was<br />

throwing away mountains of unwanted old damaged<br />

and torn books, these were usually donated after<br />

a house clearance and were deemed too tatty and<br />

discoloured to sell. I collected a lot of these books<br />

and drew on them.<br />

You once said that you create your art on vintage<br />

book paper because of its fragility: “the wind may<br />

blow them away at any moment”. Shouldn’t this<br />

bother you, that your creations will not stand the<br />

test of time?<br />

I did not mean “literally” blow away. I just meant<br />

that the works I want to create have an ethereal<br />

or fragile look to them, I was drawn to the masters’<br />

drawings from history with their weathered look,<br />

this is pleasing to me and this was my intended<br />

meaning. I may have worded it wrong which is<br />

something I do often but not intentionally. Other<br />

than that, I believe nothing is everlasting. Anyway,<br />

it’s just a matter of time before things decay and<br />

break down to the elements they are created from.<br />

Many works in museums need constant upkeep<br />

which is in itself a vital discipline. Works look fresh<br />

and everlasting because of these individuals who<br />

restore and refresh the masterpieces continuously.<br />

My works are sprayed with UV resistant fixative and<br />

I always recommend UV glass on framed works.<br />

22 <strong>POST</strong> <strong>SCRIPTUM</strong>

‘‘The brush loaded with ink<br />

offers a sensual rich dripping<br />

line while the pen a nervy<br />

fragile delicate one’’<br />

They also should not be displayed in direct sun<br />

for long periods, this holds true for all artwork<br />

and especially now as the sun is only getting<br />

stronger.<br />

Which of the world’s famous artists you admire<br />

the most?<br />

When I was much younger, I admired Picasso for<br />

his inventiveness and creative prowess, but over<br />

time I have admired many who are too numerous<br />

to mention and the list is always changing.<br />

What’s your background, what did you study?<br />

I completed an advanced certificate in visual<br />

communication and have studied commercial art<br />

in my youth. In the military I was an illustrator<br />

and also did courses on print making and making<br />

models. For a time, I worked as a graphic artist<br />

and took some classes in modern art practices.<br />

That’s about all I had the patience for.<br />

Tell us about your service in the Australian<br />

army.<br />

I was in the Royal Australian Survey Corp a part<br />

of the Australian Army. I was a reprographic<br />

illustrator and worked on map making, visual<br />

graphic art and photography including darkroom<br />

procedures.<br />

How would you describe your style?<br />

Figurative with some inclination towards abstract<br />

design.<br />

You live in Australia, your name is of Hungarian<br />

heritage, but I also read that you were born in<br />

rural Serbia. What’s your story?<br />

My mother was Serbian my father of Hungarian<br />

descent, they migrated to Australia when I was<br />

still a baby, that’s about it.<br />

Thank you [RC]<br />

<strong>POST</strong> <strong>SCRIPTUM</strong><br />


Metin Cengiz<br />

Metin Cengiz is a Turkish poet and writer. He graduated<br />

from Erzurum Atatürk University, Faculty of Basic<br />

Sciences and Foreign Languages, Department of French<br />

(1977). During his years at the university, he worked as a<br />

civil officer at the Turkish Statistical Institute for a short<br />

time (1973). Meanwhile, he completed his studies at<br />

Marmara University, Department of French.<br />

Then he returned back to İstanbul and began to work<br />

as a proofreader, editor and translator at publishing<br />

houses. He established the Şiirden Publishing House in<br />

2005, in collaboration with his friends, to publish poems<br />

and essays concerning poetry theory.<br />

He won the Behçet Necatigil Poetry Award in 1966<br />

with his book Şarkılar Kitabı (The Book of Songs), Melih<br />

Cevdet Anday Poetry Award in 2010 with his book Bütün<br />

Şiirleri 1 (Collected poems 1), Bütün Şiirleri 2 (collected<br />

poems 2) and Tudor Arghezi İnternational Poetry Award<br />

in 2011 (Romanya). He is a member of Writers Syndicate<br />

of Turkey, the Association of Turkish PEN Writers and<br />

the Turkish Authors Association.<br />

His poems are translated into several languages such<br />

as French, <strong>English</strong>, German, Spanish, Italian, Bosnian,<br />

Russian, Romanian, Arabic, Hebrew, Azerbaijani, Serbian,<br />

and Kurdish. He organized several international festivals<br />

in Yalova, Çanakkale and Nicosia.<br />

***<br />

This year rosebuds of this garden don’t bloom<br />

Be my rain and washed by mine on the streets<br />

…<br />

I am the water flows over streets<br />

Be my gully and my crowded face<br />

Let me flow with you till the eternity<br />

***<br />

Sundown is tired, sundown is sad, sundown is sole<br />

Let it fall, let the world drink it to revive<br />

And get up as if from a lethargic slumber<br />

As I was a kid I saw how it feels like to be born<br />

But now I just couldn’t make out death<br />

24 <strong>POST</strong> <strong>SCRIPTUM</strong>

Poetry<br />

POETRY<br />

THE RAIN<br />

photo: RC<br />

© Translated by Volkan Hacıoğlu 2010<br />

***<br />

The rain splashes on the soul, and its powerful drops<br />

Sweep up the verses in the mind by whistling<br />

Life is flooded out and your dear eyes<br />

Your face are all flooded out<br />

The past I remember on that bridge<br />

Fists are in the air and demonstration<br />

And then police baton, gendarme gunstock<br />

Whatever true to life is left like a dream in that sealed dim distant<br />

I behold the fire set by the rain on the streets with pleasure<br />

The fire of rain left into human souls<br />

Like love, like hope<br />

We are on fireplace, and everywhere is on fire<br />

I think life is such a thing<br />

It squeezes my throat like steel<br />

I stretch my hand out in the past<br />

The rain holds my hand only on behalf of my ruined years<br />

It turns into water, and flows<br />

My fifty fourth age lost for the sake of a claim<br />

<strong>POST</strong> <strong>SCRIPTUM</strong><br />


26 <strong>POST</strong> <strong>SCRIPTUM</strong>

V I S H N E V S K A Y A<br />

<strong>POST</strong> <strong>SCRIPTUM</strong><br />



Irene Sheri came to the world a painter. More so, Irene came to the world gifted<br />

with inherent love for the beauty around her. Starting in early childhood, she<br />

began embracing her need to create, to capture, to express what she saw. Painting<br />

and drawing quickly became her love letters to the world, and by nine years her<br />

lifelong passion was created. Irene’s professional journey began in an art school for<br />

small children, and just six years later, as a young adult student in Grekov Odessa<br />

Art School, Irene already emerged as a highly talented artist, participating in local<br />

exhibitions and winning her first awards, including a “Young Artist of the Year”.<br />

After earning a degree from Serov’s Saint Petersburg Art School, Irene went on<br />

to hone her craft at the highest level,<br />

in the Russian Academy of Arts in Saint<br />

Petersburg., whose halls have been<br />

fostering and protecting the most sacred<br />

elements of fine art for almost 300 years.<br />

The true professional acclaim came to<br />

Irene in the form of the State Prize in<br />

Art and acceptance to the Artists Trade<br />

Union of Russia. Her works were now<br />

being displayed throughout Russia and<br />

many European and online galleries; it<br />

is the increased international exposure<br />

what ultimately ushered in the next<br />

part of her life. In late 2001, her works<br />

attracted the attention of a major Disney<br />

affiliated creative artist management<br />

agency. Irene was somewhat resistant<br />

to the suitors’ initial courtship, who,<br />

nevertheless, continued being persistent<br />

in their promises to bring her to the<br />

United States, to launch American exhibits<br />

of her paintings, to expose new public to<br />

her art, and to connect her with American<br />

artists. By March 2002, the agency<br />

succeeded. Irene visited Los Angeles<br />

and becoming a licensed Disney Fine Art<br />

artist marked her new professional peak. Over the following years, Irene travelled<br />

between the US and Russia multiple times, gradually building her presence, gaining<br />

more recognition, and slowly transitioning into novel social, artistic, and business<br />

cultures. She moved permanently to the United States in 2010. Continuing to<br />

reflect and to fall in love with the world around her over and over, Irene Sheri<br />

transformed and changed throughout her life as an artist. Reinventing and blending<br />

herself with the cues and details that developed around her, Irene filtered time<br />

and assimilated new elements in a childlike manner. Keeping her classical Russian<br />

art school origins and embracing new modern western aspects, her paintings an<br />

impressionists-like core breath the life of everyday trifles, embodying the joy of<br />

small, everyday things. Tender melancholy, momentary looks, soft smiles and all<br />

subtle yet well-defined and confident reflections of deep inner harmony and peace<br />

in her works, brought together concisely and pointedly. Irene firmly commands<br />

various genres, from still-life to landscapes and portraits. Reminiscent of Renoir,<br />

Degas and Klimt, her portraits convincingly echo the unaffectedness of a child and<br />

mature female love in the same captured moments. Most often her characters<br />

speak through the understated - and ever so hard to capture wholly - elements<br />

in eyes and hands, making us realise that a true portrait must not be objective<br />

but rather only genuinely exists in a milky, in-between realm of a confession and<br />

an existential self-insistence. Irene’s talent continued to endure and break new<br />

ground with every new period of her artistic life. Over the years, her art has been<br />

featured in galleries all over the world. The most recent works, featured in this<br />

book, pay tribute to the best traditions of Romantic Realism, blended with moods<br />

of Impressionism, and decorated by the best ornaments of Modernism.<br />

28<br />

28 <strong>POST</strong> <strong>SCRIPTUM</strong><br />

source: website

You were born in the Ukrainian republic in Soviet<br />

Union. You have Bulgarian parents, you studied in<br />

Russia and now you live in the States. Where do<br />

you feel you belong inside? Where is your home?<br />

I’m cosmopolitan. I feel home everywhere. The most<br />

important is an energy of a particular place (street or<br />

building) I live in, the view from the window, things and<br />

memories I’m surrounded with, and people of course.<br />

My soul mates are from around the world.<br />

So, I feel welcomed anywhere. This is true. However, my<br />

heart is jumping out when I’m landing in St-Petersburg,<br />

Russia. Yes, this my home! This city is everything to me!<br />

The streets and embankments, palaces and channels,<br />

bridges and cathedrals, people, weather, art, theatres<br />

– all this lives inside of me no matter where I am. I’ve<br />

gotten the best artistic education there. I don’t mean<br />

just our art school and traditions but friends and<br />

teaches who have influenced my life! It seems that I<br />

learn something from each person I meet on my way,<br />

even from a yardman. Such an inspiring atmosphere!<br />

I’m infinitely grateful for each moment I spend there!<br />

So, tell us more about your university education. Have<br />

your studies prepared you to be an artist and to live<br />

from art?<br />

I graduated Russian Academy of Arts in St-Petersburg<br />

in 2000, whose halls have been fostering and protecting<br />

the most sacred elements of fine art for almost 300<br />

years. I recall that time as the most saturated era in<br />

my life! Above all, the walls keep memories and spirits<br />

from the past. As a sensitive person I was able to absorb<br />

the spiritual atmosphere there, which was extremely<br />

<strong>POST</strong> <strong>SCRIPTUM</strong><br />


Sometimes<br />

I feel<br />

that<br />

fall<br />

colours<br />

are<br />

my<br />

favourite<br />

30 <strong>POST</strong> <strong>SCRIPTUM</strong>

inspiring! So, the halls were the tutor number<br />

one. I really wanted to add my spirit as well to<br />

the halls and studios for the future young artists.<br />

It’s why I was clearly realizing the responsibility<br />

of being a student of Imperial Academy of Arts!<br />

I never thought about my future career as an<br />

artist. It seems I was always being an artist. My<br />

studying process hasn’t stopped yet. I continue<br />

growing and learning something new every day.<br />

But now I move on by myself without my art<br />

community, without my professors and their<br />

advice. To be honest I miss that period of my life.<br />

Our professors were exceptional, knowledgeable,<br />

extraordinary, talented artists! Also, they were<br />

simply good friends and givers! How can’t I<br />

appreciate the time I spent there! I recall it with<br />

great gratitude!<br />

You have been painting from very early<br />

childhood. Did you always know that you would<br />

become a painter?<br />

Yes, I always knew that I would became a painter.<br />

I never doubted that. So, my parents never asked<br />

me about my future, like all adults love to do. It<br />

was clear even for them, that my feature will be<br />

connected with the arts.<br />

What profession would be attractive to you if<br />

you had not become a painter?<br />

I would be a movie director or a cinematographer.<br />

It would be a visual work as well. I see the<br />

significant meaning of art in a visual picture. I<br />

think a visual pattern fulfils the senses more than<br />

words. It’s how I feel. If I were a movie director<br />

my movies would be verbally very laconic and<br />

concise, but the cinematography would be<br />

meaningful.<br />

their own stories if needed. But not me. Colours<br />

dance with lines, bold contrast with gentle fuzziness,<br />

brightness with silver shades. Here are some secrets<br />

of my passion! My goal is to share my energy with my<br />

audience, to unveil my soul by combining colours and<br />

shades of the brush strokes.<br />

What is your painting process? Do you have the<br />

picture in your head before you start painting, do you<br />

make plans, or you improvise and let the brush guide<br />

you?<br />

The painting process is always different. I never do<br />

sketches. I create the painting in my mind. It’s always<br />

been this way. I can’t start before I see it clearly in my<br />

mind. (But then what happens is a totally different<br />

story!) Of course, the brush leads me. No doubts about<br />

that. But it’s a solid duet – the picture in my mind and<br />

a freewheeling brush make the act of art happen. It’s<br />

some sort of waltz between my mind, my eyes and my<br />

hands. It’s sacrament and mystery, which you always<br />

trust.<br />

The colour combinations in your paintings are<br />

extraordinarily vibrant. Do you have a favourite<br />

colour?<br />

Sometimes I feel that fall colours are my favourite. Fire<br />

colours represent my hot temper. It’s kind of a joke,<br />

but there is some truth in it. I was born in September<br />

and been extremely inspired in this spectacular season.<br />

Autumn is a very poetic time. Alexandr Pushkin, who<br />

was the most popular Russian poet from 19 century,<br />

wrote his the most famous poetic series in fall, called<br />

Boldinskaya Osen’ (Boldin Autumn). I’ve always been<br />

connected to his soul and his poetry, especially from<br />

this period of time. Fall is time to contemplate and<br />

absorb the beauty. The Nature is extremely talented.<br />

Our job is just carefully with great respect learn from it.<br />

What stimulates your creativity?<br />

Colour is the most inspiring factor in my<br />

creativity. As my teacher once said: “It doesn’t<br />

matter what we paint! It matters how we paint!”<br />

This statement so matches my attitude to art. As<br />

I said earlier I see meaning in a visual picture! I<br />

don’t create any story behind the picture. The<br />

story is our feelings we get from the paintings.<br />

Just feelings and emotions. The viewers create<br />

Who is your master? Which artist do you respect the<br />

most?<br />

Gustav Klimt is definitely my master. I admire his<br />

landscapes, the way how he sees the world, colours,<br />

vibration of lights, compositions, delicacy. His art<br />

speaks to me. There are many artists who inspire<br />

me! Antonio Mancini, Nicolai Fechin are magnificent<br />

painters whose art is iconic for me! Their colour<br />

combination and strong-willed brush strokes amaze<br />

and discipline me at the same time.<br />

<strong>POST</strong> <strong>SCRIPTUM</strong>31<br />


The subject of my paintings are young women;<br />

the main thematic elements are eyes.<br />

My aim is to trigger a silent dialogue<br />

with my audience<br />

32 <strong>POST</strong> <strong>SCRIPTUM</strong>

What is the essence of art for you?<br />

What is essence of art for me? This topic has always<br />

been at the top of discussions for ages. For me pure art<br />

comes from a pure soul. If you want to share your inner<br />

world and to be heard just be sincere and genuine with<br />

yourself first. And the result will never play a trick! We<br />

don’t have to understand art. It whether talks to you or<br />

doesn’t, whether changes you to the better in indirect<br />

way or doesn’t. Sometimes you fall in love with a piece<br />

of art and can’t forget it. That means it’s definitely art<br />

for you, which can be totally mediocre for another<br />

viewer.<br />

You paint many beautiful women; sensual, romantic,<br />

melancholic. Who are they?<br />

The subject of my paintings are young women; the<br />

main thematic elements are eyes. My aim is to trigger<br />

a silent dialogue with my audience, to express a pure<br />

young female soul through eyes, perhaps fulfilling the<br />

age-old adage. In this, my paintings are intimate and<br />

personal, without ever being self-portraits.<br />

What is the main feature of your artistic personality?<br />

I think the main feature of my personality is ability<br />

to spend majority of time in solitude and being so<br />

comfortable in my own company. But it doesn’t mean<br />

that I avoid social life. I’m just too picky, I guess, with<br />

the community. I’m an observer and contemplator.<br />

When I meet with people I notice the shades on their<br />

faces, reflections from the sun and their clothes on<br />

their features, lights, lines. How people smile and how<br />

their voice and laughter sound like is important for me.<br />

If their eyes are sparkling or not. If their soul is childish<br />

or too adult. So, I twig without listening to the stories.<br />

It’s exactly how I look at art as well, as I mentioned<br />

before. I believe that a form can be fairer than contents<br />

(or words). So, I appreciate what I see more than what I<br />

hear.<br />

What era, deep down, do you belong to?<br />

I really believe in reincarnation. So, I easily see myself<br />

living in 19th century, or the beginning of 20th (one<br />

of the lives of course). I feel connection with the<br />

fashion from that era. Appearance of women and their<br />

manners: how they walked, how they talked, how<br />

their posture looked like, how dressed they were is still<br />

something sacral for me. Their feminine was divine. But<br />

even in that era I had an artistic personality.<br />

I would adjoin a circle of impressionists in Paris if I were<br />

living in 19th century now. I’m so fascinated by bright,<br />

pure colours and visible, messy brushstrokes, which<br />

were typical for impressionism. “Midnight in Paris” is a<br />

movie that describes my attitude to that miraculous era!<br />

What does your studio look like?<br />

My studio is in an old central part of St-Petersburg,<br />

Russia. It’s a historical building with beautiful<br />

penthouses (or mansards, how we called them there).<br />

My neighbours are all artists as well - sculptors, painters,<br />

fashion designers, jewellers. Very creative atmosphere.<br />

It’s my place of power, where I spend some time to<br />

recharge my battery, to get inspiration or to get back<br />

to myself. It’s my comfort zone, which I leave time to<br />

time to continue exploring this world, which is the best<br />

way to explore yourself. I have everything I need there.<br />

It’s a light, warm, cosy place with a spectacular rooftop<br />

view to the old city. The windows are facing north. It’s<br />

always been my request for an art studio. I paint during<br />

daytime. It’s why the north light is so important to me.<br />

The reflection from the sky is very natural and calm. Each<br />

moment I spend in this studio is meaningful. Sometimes<br />

I just sit in my favourite, the most comfortable, round<br />

chair, listen to music and watch dancing rain drops on<br />

<strong>POST</strong> <strong>SCRIPTUM</strong><br />


34 <strong>POST</strong> <strong>SCRIPTUM</strong>

the glass of the window and feel a connection to<br />

something ritual and indescribable. I’m still working<br />

on my art studio in Chicago, which is my second home.<br />

I can’t tell I’m satisfied with the working space here<br />

so far. I know how it’s supposed to be! My plan is to<br />

build the studio somewhere deep in woods, to be<br />

surrounded by old trees. It’s going to be a glass space,<br />

so I will be able to feel involvement with nature. The<br />

mixed smell of fireplace, coffee and oil paints, music,<br />

replacing each other seasons beyond the windows, a<br />

couple of easels, my favourite chair and a cat – this is a<br />

humble picture of my dream studio. It’s coming)<br />

How long does one painting take?<br />

There is no particular time for completing one<br />

painting. Each peace has a different character as a<br />

person. Sometimes it takes a week, sometimes –<br />

weeks. Sometimes I think that it’s still a lot of work<br />

to go. Keep coming to the canvas staring at it for<br />

hours (days sometimes), and then suddenly just one<br />

brushstroke finalizes the painting and it becomes so<br />

clear that the painting is finished. It’s always mystery<br />

and a puzzle which you must unravel. Especially if<br />

you paint a portrait. First of all, you have to get along<br />

with the person you paint. (But it’s a totally different<br />

story I can talk about it for ages!). I’m not talking<br />

about commissions of real people, but about nonexistent<br />

portraits, which appear to this world from my<br />

imagination through my canvases.<br />

Do you paint every day?<br />

Every day I’m in my studio. I work there. Work includes<br />

painting process, stretching the canvases, looking<br />

for the right character I want to paint next, learning<br />

something new about colour combination, technique,<br />

textures, styles. It’s a process. Contemplation.<br />

What other hobbies or interests do you have?<br />

My hobbies are very conventional. I think it helps<br />

me to ground from my paintings. I like outdoors and<br />

indoors. I never feel locked if I spend days inside. I<br />

even don’t notice it. It seems opposed, that I travel<br />

through times and miles! I read a lot or listen to some<br />

interviews with people I find distinguished, watch<br />

captivating videos. So, time flies by even I don’t leave<br />

the house. Also, I love baking! For me it’s some sort of<br />

meditation. I walk. I discover new places I never visited<br />

before, or opposite – continue visiting over and over the<br />

same place I’m in love with. I love traveling by car.<br />

I know you had a very special, beloved friend in your<br />

childhood: Mickey Mouse. From an early age, you<br />

drew and painted this character by copying it from a<br />

sticker brought from abroad. Fortune has come full<br />

circle now that you work for Disney. How did your<br />

collaboration with Disney come about?<br />

Disney is associated with pop culture, does an artist of<br />

your calibre, so carefully educated, mind the fact that<br />

you are associated with American cartoons?<br />

Our life is full of unpredictability and surprises. There<br />

is a beauty in it. They say there are no accidents.<br />

Everything happens for the reason. In late 2001<br />

my works attracted the attention of a major Disney<br />

affiliated creative artist management agency. I was<br />

somewhat resistant to the suitors’ initial courtship,<br />

who, nevertheless, continued being persistent in their<br />

promises to bring me to the United States, to launch<br />

American exhibits of my paintings, to expose new public<br />

of my art , and to connect me with American artists<br />

. By March 2002 the agency succeeded. I visited Los<br />

Angeles and became a licensed Disney Fine Art Artist.<br />

Disney is more than pop culture. It’s everything! It’s a<br />

religion, god, love, memories, happiness, purity and<br />

innocence. It’s an enormous part of American culture!<br />

To be honest, I feel so honoured to join this community.<br />

And I’m still Irene Sheri. I’m not a cartoonist. For Disney<br />

I paint impressionistic portraits of children interacting<br />

with Disney toys. I don’t get out of my style. Remember<br />

once I recalled my teacher’s statement? “Doesn’t<br />

matter what we paint. It’s matter how we paint! “.<br />

What, as an artist, do you wish for?<br />

As an artist I wish I continue connecting with others<br />

through my art, engaging with the world and reflecting<br />

on myself. When we experience art, we also have the<br />

privilege to experience raw emotions and an inner<br />

connection to our deepest being. What an incredible<br />

thing! I wish it lasts for ever! [RC]<br />

35<br />

<strong>POST</strong> <strong>SCRIPTUM</strong><br />



Drunk<br />

bitch<br />

Suzy fell over in the middle of the<br />

street.<br />

I work in a car factory. I say so to<br />

everyone, although I actually work for<br />

one of the subcontractors. I tighten<br />

the screws to parts with names that<br />

will tell you nothing. Have been doing<br />

this for a year. I also do other things:<br />

I sweep, deliver parts, help Frank (my<br />

boss), but mainly I tighten screws.<br />

Now I’m screwing up, standing by<br />

the dirty window and looking for<br />

Margaret. It’s past three o’clock.<br />

People are leaving work and should<br />

soon pass the factory’s windows –<br />

the factory that makes things and in<br />

which I don’t work but say that I do.<br />

Margaret always passes the window.<br />

In the summer wearing floral dresses,<br />

in the autumn, a long jacket, and<br />

during the winter in a worn coat with<br />

a fur collar. Sometimes she looks at<br />

me. Not always. But now I’m counting<br />

on something. On more than just a<br />

glimpse. Yesterday in the pub I got the<br />

courage and asked her for a date.<br />

“Why not?” she smiled. “Call me<br />

sometime.”<br />

And off she went to her friends from<br />

finance. So today, when she passes,<br />

I intend to invite her to the cinema and<br />

then for dinner at this restaurant with<br />

a French name, which God knows how<br />

to pronounce. I don’t know French.<br />

Suzy got up clumsily, hastily picked up<br />

the lunch she was just carrying for her<br />

father and fell again. Jesus! Someone<br />

will finally walk over her. A damn<br />

drunk bitch.<br />

“Frank!” I shout, not taking my eyes<br />

from the crowd of men and women<br />

pouring out of the factory gate.<br />

He can’t hear because the grinder<br />

is on. I can already see Margaret<br />

surrounded by a bunch of friends. The<br />

women look through the windows of<br />

36 <strong>POST</strong> <strong>SCRIPTUM</strong><br />

Frank’s factory and laugh. I put aside<br />

the screw in my hand and run to Suzy.<br />

I grab her under her waist like as she<br />

was a dog, with my other hand picking<br />

up her bag and take her off the road.<br />

“Look after your drunken bitch, or<br />

next time I will knock her over!” Yells<br />

some driver from a red Pontiac, before<br />

storming off with a screech of tires.<br />

He ran over a salad in a plastic box;<br />

Frank will have to do without today.<br />

I hold her closely, afraid to let her go<br />

so she wouldn’t topple over again. I<br />

automatically brush the sand off her<br />

arse. She blushed and looked down.<br />

I feel uncomfortable too. I look in<br />

the direction of Margaret, but she<br />

disappeared around the corner. I<br />

won’t invite her on a date today. It’s a<br />

shame because I already have tickets<br />

in my pocket. Bloody drunk whore.<br />

I look angrily at Suzy, as she looks<br />

down, sensing my distaste.<br />

I’m standing by the window again,<br />

but I can’t see Margaret. Maybe she<br />

took the day off? I saw her friends<br />

who looked at me from the other side<br />

of the window and started laughing.<br />

Margaret wasn’t with them.<br />

“Good morning,” Suzy walked into the<br />

room, beaming. “I brought you guys<br />

some lunch.”<br />

For you? I look at her, surprised, as she<br />

unpacks boxes and plates. Apparently,<br />

for me too. She wants to apologize for<br />

yesterday. For my wasted opportunity<br />

and missed cinema tickets. Of course,<br />

she doesn’t know that. Nobody does.<br />

I don’t even talk to Frank about<br />

Margaret, although he is the only<br />

friend I have. I sit down at the table<br />

and eat all the wonderful things his<br />

daughter had prepared. Suzy smiles,<br />

overjoyed, watching us lick our plates,<br />

she kisses her father on the cheek<br />

then makes a move as if she also<br />

wanted to kiss me, but I move away. I<br />

see the smile fading on her face.<br />

“Goodbye, Josh,” she says and hurries<br />

out, not waiting for us to finish eating<br />

to pick up the plates and boxes.<br />

Frank stops for a moment, stares at<br />

the door through which the Drunk<br />

bitch left. He then looks at me saying<br />

nothing. We eat.<br />

I dance with Suzy in the middle of<br />

a large hall surrounded by other<br />

couples. There is an annual ball for<br />

factory workers. They invited Frank, as<br />

a long-time supplier, but he gave me<br />

the invitation.<br />

“I don’t have anyone to go with” I<br />

protest, knowing that this isn’t an<br />

excuse; he has no one to go with<br />

either. Last Sunday there was a mass<br />

for Frank’s wife- the fifth anniversary<br />

of her death.<br />

“Invite Suzan”, he suggests.<br />

What a ridiculous idea! But then I<br />

realized that Margaret would be there<br />


I’m dancing with the Drunk Bitch as<br />

she smiles brightly. She is the only girl<br />

I know who can smile like that. Even<br />

her eyes laugh. She has this special<br />

glow. I notice Suzy has nice breasts<br />

and very beautiful legs. I can see it<br />

now. Usually the girl wears jeans and<br />

jumpers, which hide her perfect figure<br />

well. When I think about it, I come to<br />

conclusion that she has better legs<br />

than Margaret. Not to mention her<br />

bum. I still remember these curves<br />

from when I brushed her off from<br />

the sand. We dance. She didn’t even<br />

stumble once. Just in case, I hold her<br />

close. I can smell her perfume and the<br />

scent of slightly sweaty skin and her<br />

freshly washed hair. Beautiful, long<br />

and thick hair. She looks into my eyes<br />

and I get the first punch to my stomach.<br />

Not a real one. Metaphorically.<br />

For the next dance I invite Margaret.<br />

I am here, bending in front of her, as<br />

if my stomach really hurts, trying to<br />

shout over the loud music. Maybe my<br />

stomach really hurts after all. Out of<br />

fear.<br />

“Thanks, but no. I need a rest” says<br />

the girl.<br />

Then she looks at her friends,<br />

who burst out laughing, as if I said<br />

something funny. I don’t dance well,<br />

that’s probably why. I go to my table,<br />

where Suzy is still grinning and sit<br />

down next to her, disappointed. I can<br />

see some guy coming over to Margaret<br />

and she goes with him to the dance<br />

floor without a second thought. That<br />

was a quick rest! Not even a minute<br />

had passed. I know this man. He is a<br />

manager from quality control. He had<br />

called us several times because he<br />

wasn’t happy with something we’d<br />

done. There was some scratch or<br />

something. A terrible crud, but doing<br />

what he does, being a crud is probably<br />

an advantage. The crud dances with<br />

my Margaret, as the Drunken Bitch<br />

puts her hand in mine as if we were<br />

a couple. It’s good that nobody saw<br />

beneath the table.<br />

“Don’t give the bitch any alcohol,<br />

she’ll be rubbing the floor with her<br />

boobs.”<br />

Several youngsters from the assembly<br />

line pass by our table. They laugh. I see<br />

Suzy’s face thicken and feel her fingers<br />

clenching my hand. I want to get up,<br />

but she stops me. That’s probably for<br />

the best- there were four of them. Not<br />

to mention the fact that the entire hall<br />

is filled with their colleagues. Nobody<br />

would help me. I sat back in the chair.<br />

It would be nice to hit the twat in the<br />

teeth, but it would also be nice not<br />

to get my teeth knocked out. I just<br />

realized that I am not much better<br />

than them.<br />

We leave the ball. I hold her waist<br />

tight as she hugs me. I feel strange.<br />

Ridiculously, incomprehensibly<br />

pleasant.<br />

My grandfather founded this factory. I<br />

won’t mention its name because then<br />

you’d know everything. About me and<br />

my family. That’s why I won’t tell you.<br />

I won’t even reveal the name of the<br />

city or the state in which the factory<br />

is located. My father’s idea was for<br />

me to start with simple jobs and<br />

understand workers. He was afraid<br />

that they would quickly decipher me<br />

at the factory, that’s why he placed me<br />

at Frank’s. Frank wasn’t aware either.<br />

Somehow, my father managed to<br />

arrange all that through someone. A<br />

few days ago, the change finally came.<br />

I became managing director. I don’t<br />

know French, but I know German,<br />

Russian and Mandarin. And a little bit<br />

of Japanese.<br />

I walk with Margaret hand in hand.<br />

She is joyful and smells good. Maybe<br />

she sprayed her perfume a little too<br />

intensively, but the smell is pleasant.<br />

Not as sexy as Suzy’s skin, but still<br />

nice. We are pass the windows of my<br />

former workplace.<br />

“I’ll say hello to Frank,” I say.<br />

“You must stop hanging out with that<br />

pleb,” my Margaret says, cursing her<br />

lips in contempt. “I am your girlfriend,<br />

so you bring shame not only on<br />

yourself, but also to me.”<br />

I know she’s right. We pass Frank’s<br />

department. With the corner of my<br />

eye, I see him covered in a plume of<br />

sparks from the grinder. It’s good that<br />

he can’t see me. I breathe a sigh of<br />

relief.<br />

“I’m afraid” Suzy cries in my arms.<br />

“what if it all goes wrong?”<br />

Then you’ll continue to stagger<br />

walking down the street and people<br />

will still call you the “Drunk Bitch.”<br />

And I will still love you. I think that in<br />

my head, but don’t say anything. We<br />

are sitting on a big bed in our new<br />

home. Suzy is naked, I hug her body<br />

and kiss her neck. I love the smell of<br />

her skin and her hair. For a long time, I<br />

knew nothing about her illness. Frank<br />

never told me. I only talked to him<br />

about this once, if you could even<br />

call it a conversation. I suggested that<br />

Suzy should drink less. He looked at<br />

me furiously. Weird, my ex-boss is the<br />

gentlest guy I know.<br />

“I like you, Josh,” his voice changed, it<br />

was as rough as sandpaper “You are<br />

a decent boy: smart and hardworking.<br />

That’s why I’ll pretend you didn’t say<br />

that. Okay?”<br />

And that was that.<br />

At some point I did find out. Suzan<br />

had never been drunk in her life.<br />

After having an ordinary flu, she<br />

got complications an ear infection,<br />

damaging the workings of her inner<br />

ear. That’s why she walks like a drunk.<br />

Not always. Sometimes she’s normal,<br />

and sometimes she can’t maintain<br />

her balance. I now have access to my<br />

father’s money and I have arranged<br />

for her surgery, which is very likely<br />

to restore her health. At least the<br />

doctors say so.<br />

I enjoy the fragrance of Suzan’s skin,<br />

hugging her even tighter.<br />

And Margaret?<br />

“You have to stop associating yourself<br />

with the pleb,” she said in front of<br />

Frank’s department.<br />

And I understood that she was right. I<br />

passed some large, dirty windows and<br />

pulled my hand out of hers.<br />

“Goodbye, Margaret. Call me<br />

sometime!”<br />

I looked into her big, surprised eyes<br />

and started to laugh. I wasn’t laughing<br />

at her. Not at anybody. I laughed out<br />

of happiness that I’d finally freed<br />

myself from her. And I ran home to my<br />

“Drunken Bitch” who was just packing<br />

lunch for Frank. [JP]<br />

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I’m the entire universe in great affection,<br />

Gathering cautions and dispelling flying fears.<br />

I create the mountains and fill up the seas,<br />

Catching unknown sounds to be brought to subjection.<br />

I guard the fire, I am creating rich illusions,<br />

Seizing cool breeze I am wallowing in wonders.<br />

I am collecting only the correct decisions.<br />

I hug the moon and diminish sudden thunders.<br />

I wander the wilderness, feel totally unheeded,<br />

I’m taking up the reins and flare in golden fields,<br />

Flee when unwanted, and appear when I am needed,<br />

Root in the ground and a fish in turquoise sea.<br />

I am fidgeting like ants, just like we all do.<br />

I hum ballads, blow a trumpet, add the spice.<br />

I’m a spinner, I’m a cloud and I’m a clue,<br />

But only in your loving eyes I come alive.<br />


When you whisper in silver and gold,<br />

I turn into the moon in the dusk.<br />

Lifting body like clouds to the sky<br />

Getting rid of all fears<br />

And masks.<br />

When you look at me<br />

Like no one has,<br />

Your love song echoes right inside me,<br />

I am seizing tastes of olive groves,<br />

Losing the remnants of sanity.<br />

When your eyes touch me I want to drown<br />

And the dress fits my body so nicely!<br />

I dance lightly on stairs up and down!<br />

When you look at me<br />

I am so attractive!<br />

Translatied from Polish by Jerry Umys and Renata Cygan<br />

38 <strong>POST</strong> <strong>SCRIPTUM</strong>


They plugged a few feathers into my shoulders,<br />

So I believed that I had wings.<br />

Rich decorations on the surface,<br />

But inside stuffed with dust and sins.<br />

When the sun sets I’m getting closer<br />

To all the traps and poking stings.<br />

I’m a space object, somewhat gritty,<br />

Sprouting new feathers in the snow,<br />

Every sunbeam - cute and pretty<br />

Sculpts smiles in yellow clay with a glow.<br />

The fortune teller pours dark water,<br />

I teeter like a tightrope walker.<br />

I will not squander scraps of gladness,<br />

Nor will I stop my joyful amblings.<br />

You will emerge from clouds in blackness,<br />

Write me a poem about Chaplin,<br />

I’ll bring the lilies, without asking,<br />

Before I anchor back to sadness.<br />




Mulberries - dancing lights and sweetest white fruit,<br />

We go there after school - cut across the cemetery,<br />

Some scraping noise in branches - a bird en route,<br />

Or maybe there’s a stray kitten lonely and unwary?<br />

Many of them are around the school building,<br />

Dogs too - happy - not searching for an owner.<br />

And the grimy children, so wonderfully free,<br />

Surrounded by the adventures on every new corner.<br />

Now there are no mulberry trees, and the school is gone.<br />

They demolished it last spring, despite the resistance.<br />

Sentiments don’t matter, life has to go on,<br />

But I wish I was able to zoom in from the distance...<br />

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40 <strong>POST</strong> <strong>SCRIPTUM</strong>

photos: Renata Cygan<br />

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D A M I A N O<br />

P H O T O G R A P H Y<br />

42 42 <strong>POST</strong> <strong>SCRIPTUM</strong>

E R R I C O<br />

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l i k e g r e a t m a s t e r s<br />

If one day<br />

I no longer<br />

have<br />

the enthusiasm,<br />

I will no longer<br />

take<br />

photographs<br />

44 <strong>POST</strong> <strong>SCRIPTUM</strong>

Damiano Errico was born in Caserta in 1970. He attended<br />

the Art Institute of S.Leucio (CE), where he met the painting<br />

master Bruno Donzelli and spent a long period as an<br />

assistant in the master’s studio learning painting techniques.<br />

After graduating, he enrolled at the Academy of Fine Arts<br />

in Naples, where he studied photography with Mimmo Jodice.<br />

From the first meeting with the master till now, not a day goes<br />

by without photography. He often exhibits in galleries and<br />

museums, and carries out many photographic workshops<br />

and seminars in Italy and Europe.<br />

How did you become an artist?<br />

It happened in very early childhood – I was 6/7 years<br />

old, when I used to spend my days in my father’s tailor’s<br />

shop, yes... my father was a tailor and created tailor-<br />

-made clothes. I very often played with fabrics and<br />

always drew. At that stage my passion for creativity was<br />

born. I watched how, from a piece of cloth, a dress was<br />

born. Today I try to “dress” my models with light. Light<br />

does not strip bodies but dresses them with poetry.<br />

Beautifully said…<br />

When it comes to education, you started your<br />

adventure with art with painting (studying painting<br />

under the supervision of Bruno Donzella). I read that<br />

you weren’t interested in photography until you met<br />

the great photographer Mimmo Jodice at the Academy<br />

of Fine Arts in Naples, where you were studying. What<br />

did Mimmo Jodice say that made you change your<br />

mind after one conversation?<br />

I did not like photography. I wanted to become a painter.<br />

I thought photography was a minor/trivial art. Mimmo<br />

Jodice made me understand that photography is not<br />

made up of numbers and formulas, but of poetry and<br />

culture, of art history, of emotions. I remained in ecstasy.<br />

I immediately bought a camera and since that day I have<br />

always taken photos.<br />

Mimmo Jodice is known for photographing<br />

contemporary cultures: landscapes, cities, industrial<br />

buildings, etc., the human figure is rarely physically<br />

present in his works. You mainly photograph people.<br />

What influenced your own style the most?<br />

The master Jodice has often portrayed classical<br />

sculptures, he managed to give life to a block of marble.<br />

I want to convey the same emotions, but in the opposite<br />

way. I want to transform people, models into paintings<br />

and sculptures. From Mimmo Jodice I learned how to<br />

look for feelings in people, landscapes and sculptures.<br />

Yes, your photos look like the works of<br />

great masters. Do you have a favourite master?<br />

I love all the masters who have created masterpieces,<br />

but in particular I love Caravaggio for his theatricality<br />

and his realism, Vermeer for his natural light, Bernini for<br />

his pathos in stone and Canova for the pursuit of beauty.<br />

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46 <strong>POST</strong> <strong>SCRIPTUM</strong>

But the most important period in the history of art is<br />

certainly the Greek civilization with its classical art and<br />

its ideals of beauty.<br />

Where do you get your inspirations from?<br />

I am inspired by the beauty of nature, by the light<br />

that enters through a window, I am inspired by female<br />

beauty. I also read many art history books and go around<br />

museums and galleries. But nature is my greatest<br />

teacher.<br />

In one of your interviews you said: photography is a<br />

vocation, almost a “biblical” conversion: it was she<br />

who chose me, breaking into my life, since then not<br />

a day has gone by without it. For me, photography is<br />

not a uniform that is worn but it is my own skin. I live<br />

constantly on photography!<br />

Can you still see the outside world like an ordinary<br />

person, or do you look at it as a photographer?<br />

Every day that I wake up, every day that I<br />

open my eyes, I try to find the “beauty” that<br />

surrounds me. Even if I don’t have my camera<br />

with me, I still try to collect the pictures with<br />

my mind. These are all experiences that remain in our<br />

hearts and minds. We can take photos even without a<br />

camera, only with our eyes and our heart: these are<br />

the most exclusive photos, only ours – personal and<br />

unique.<br />

A recipe for a perfect photograph?<br />

Each photograph contains all our experience, our<br />

studies, the books we read, the exhibitions we visit, the<br />

good music we listen to. Our photographs are x-rays<br />

of our intellect. If we experience many emotions, our<br />

NATURE<br />

is my greatest teacher.<br />

<strong>POST</strong> <strong>SCRIPTUM</strong><br />


photographs convey many emotions. So, I say that all our<br />

essence is concentrated in a photoshoot.<br />

I believe that art is the essence of things, Michelangelo<br />

said that if the idea exists in matter, we must discover<br />

it. So, I believe that photographs already exist in nature,<br />

our sensitivity and our experience can find them. I look<br />

around and see many wonderful photos, even if sometimes<br />

I don’t have a camera I’m still happy because I see<br />

them, they remain in my mind.<br />

Do you have your own studio? What is most important<br />

to you when it comes to studio equipment?<br />

For me the equipment is not important at all, I can also<br />

shoot with a phone, the important thing is the emotion<br />

and enthusiasm that I carry within me. That will be<br />

the enthusiasm that my photographs will transmit.<br />

If one day I no longer have the enthusiasm,<br />

I will no longer take photographs.<br />

You favour natural light. Where do you prefer to work,<br />

in the studio or outdoors?<br />

I prefer to work in the bedroom, in dark rooms, where I<br />

can look for the light, my light. I start with a dark<br />

room, then I start introducing light, so it’s almost a<br />

divine process, I look for the light in the shadow and I dig<br />

it out from the shadow.<br />

You have published a book called Fleur in which you<br />

presented fifty photos of women with floral elements.<br />

The female figure is almost always in the centre of<br />

your paintings. What does this woman represent for<br />

you?<br />

My book Fleur represents the female universe. The<br />

woman is the human, terrestrial form that approaches<br />

the perfection of nature, in the woman the secret of<br />

universal beauty is kept.<br />

48 <strong>POST</strong> <strong>SCRIPTUM</strong>

When starting work with a model, do you have a plan,<br />

a ready story in your head, or do you get carried away<br />

and improvise on set?<br />

I have many projects in my artistic research, some are<br />

fundamental: Fleur, Towards the painting, Red. Each<br />

model (both female and male) has characteristics for<br />

these projects. When I see a woman I immediately<br />

begin to imagine what sculpture it could be, what Venus<br />

she could represent. My research stems from long<br />

reflections.<br />

Mimmo Jodice said, “My work will end in the age<br />

of digital photography.” How do you see digital<br />

photography? Do you happen to take photos with your<br />

smartphone?<br />

For me, photography is a language. It doesn’t matter the<br />

equipment, it doesn’t matter if we work with a film, with<br />

a digital camera or with a smartphone, the important<br />

thing is that we can translate what we have in our mind<br />

and in our heart.<br />

Do you edit your works in post-production, digitally<br />

process them, e.g. in photoshop?<br />

Yes, I often work with photoshop. What matters is<br />

the result. When a photo or a painting or a sculpture<br />

excites me, I don’t care with what means or with what<br />

equipment it was made, I just think that I get excited.<br />

Technical question: what camera and lenses do you<br />

use?<br />

My camera is a reflex (5D markIV) and the preferred<br />

lense is a 85 mm.<br />

You live in a small town next to your birthplace<br />

Caserta. Where do you find your models?<br />

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I live in a place with beautiful locations, but I travel a<br />

lot around Italy and Europe, I do many workshops and<br />

seminars, I often meet interesting models. They often<br />

contact me on facebook or instagram, I decide which<br />

ones are best suited to my photography.<br />

Towards painting – this is the name of your workshop.<br />

Tell us about this project.<br />

Towards painting is my photographic journey that starts<br />

from Damiano Errico painter, to arrive at Damiano Errico<br />

Photographer, and then returns to Damiano Errico<br />

painter. I studied a lot of art history, now I try to bring<br />

my artistic knowledge to the disposal of photography.<br />

So my photography is inspired by painting and the great<br />

masters of art. Maybe one day I’ll go back to painting.<br />

Do you still do commercial work as a photographer<br />

(weddings, fashion)?<br />

I have done many commercial works, now I am<br />

dedicating to workshops, training courses and<br />

exhibitions. I am very lucky because I can do a job that is<br />

also a passion, I am serene.<br />

In 2015 your photos were featured in Vogue, what<br />

was the project?<br />

It often happens that my photographs are published or<br />

shared. This is wonderful because my photography is<br />

more visible. There were no projects, just a question of<br />

sharing.<br />

What is your job like now in times of pandemic?<br />

Our photographs<br />

are x-rays of our intellect.<br />

50 <strong>POST</strong> <strong>SCRIPTUM</strong>

Now the job has changed, we spend a lot of time at<br />

home. I am making videos where I talk about my<br />

photography, my inspiration, my experiences. I do a lot<br />

of live shows and I’m preparing online lessons. I believe<br />

future work will be done online<br />

What is Art for you?<br />

This question is very difficult and subjective. This<br />

question is the secret of every artist’s research. For me,<br />

art is the need to express our ideas, but above all it is<br />

the need to remain our track for the future. Art makes<br />

us feel immortal, because the body dies but our soul<br />

remains forever in our works.<br />

day I photographed a window, sometimes I had<br />

my daughter as a model, other times, having no<br />

models, photographing objects. This is how my still<br />

lifes were born. Many ask me what the difference<br />

is between my still lifes and my portraits, I believe<br />

there is no difference, in both I look for beauty<br />

and essence, and then I dress them with the same<br />

light.<br />

So, the conclusion would be that in photography<br />

light is the most important tool, together<br />

with emotions, passion and experience of<br />

the photographer. I wish you many days and<br />

years full of passion and beautiful pictures.<br />

I will come back to the pandemic – we are all suffering<br />

the difficulties, new world is being born before<br />

our own eyes, nothing is going to be the same any<br />

more. How are you managing it as an artist?<br />

As I said – I have a library of pictures in my head, they<br />

exist deep down inside me. During lockdown, especially<br />

in the first few days, I had a void in my heart, I was afraid<br />

of not loving photography anymore. But after a few<br />

days I thought that my cure was the light of my home.<br />

The ice that entered through the windows. So, every<br />

Thank you very much for this very interesting<br />

conversation, we are truly honoured and very<br />

happy to be able to share your extraordinary<br />

art.<br />

Thanks for these wonderful questions [RC]<br />

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In the morning<br />

like a machine gun<br />

With short bursts<br />

of sentences crashes<br />

what’s near the mouth<br />

In the afternoon<br />

whatever is left<br />

she hangs<br />

on the branches of trees<br />

Poetic washing with poems<br />

She is brilliant<br />

Like a machine gun<br />

HOW MUCH<br />

How much I should value<br />

you<br />

I only appreciate<br />

in the morning<br />

Earlier<br />

you were trying to get<br />

to me<br />

But I don’t hear<br />

your scream<br />

O Lady<br />

Forgive me<br />


And there, after all<br />

not everything is gold<br />

Underwear factories<br />

sell us<br />

imaginations<br />

In well-chosen<br />

packages<br />


This is not even about<br />

the windows to be clean<br />

for the feast<br />

But to clean the windows.<br />

To chase the Easter bunny.<br />

The first pre-holiday rain<br />

will reset everything.<br />


POETRY<br />


Appeared the second surprise<br />

That there is a theory<br />

of probability, and yet<br />

I hear nothing<br />

about the theory of<br />

assurance<br />


Beautiful<br />

Unavailable<br />

From which<br />

no one has<br />

any use<br />

Every year you become<br />

more and more lonely<br />

A pile of stones<br />

FUEL<br />

There’s so much left<br />

of yesterday’s fuel<br />

that after<br />

I am still spinning<br />

on the movement<br />

of celestial spheres<br />

Like today’s Blue Moon<br />

Winged euphoria<br />

raises me, maybe it’ll last<br />

till hot summer<br />

Or better yet<br />

until next summer<br />

Everything will rust<br />

or will be stolen<br />

Therefore, the only<br />

valuable thing<br />

in which I invest<br />

is the imagination<br />


Like a poor man from Assisi<br />

preaching sermons<br />

to his smaller brothers<br />

I am reading<br />

at an author’s evening<br />

poems to books<br />

at the city library<br />

52 <strong>POST</strong> <strong>SCRIPTUM</strong><br />

translated by Renata Cygan

RED<br />

when in London<br />

at Tooting<br />

at the interval between bus number 57<br />

and the subway line to Streatham<br />

passed me a man<br />

the one from the Tower of Babel<br />

the rhythm of the city was measured<br />

by Big Ben<br />

when leaning against a plane tree<br />

I thought<br />

about yesterday’s whiskey,<br />

a black cab just arrived<br />

wooden seats<br />

reminded me of the armchair at home<br />

when people’s lives were fulfilled<br />

with work and play<br />

and everything was happening<br />

under the Big Eye of London<br />

between the houses flitted a red fox<br />

RC<br />




golden partition<br />

golden poem<br />

shines stupefies<br />

creates fractals.<br />

is it because it’s always been<br />

mathematics or poetry<br />

poetry or mathematics<br />

you look, you think<br />

the golden stream flows<br />

Tomorrow, about which I know everything<br />

- Is only an illusion to me<br />

Expected tomorrow<br />

- But what will it bring<br />

Tomorrow visible today<br />

- but what does it mean<br />

seeds like stars in the sky<br />

seeds like grains of sand<br />

in this is Everything<br />

already a grain, not a harvest yet<br />

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54<br />

54 <strong>POST</strong> <strong>SCRIPTUM</strong>



55<br />

<strong>POST</strong> <strong>SCRIPTUM</strong> 55

The magic lies in simplicity.<br />

Dariusz Klimczak was born<br />

in 1967 in Sieradz, Poland. He is a<br />

painter, journalist, poet, musician,<br />

and a photographer. He has taken<br />

part in both collective and individual<br />

exhibitions in his home country of<br />

Poland, as well as abroad. For the<br />

past 10 years he’s been working with<br />

surrealist photomontages based<br />

on his photos. Whilst he prefers<br />

contrasting black and white square<br />

frames, he doesn’t shun traditional<br />

colourful pieces. In his phototricks,<br />

he looks for the atmosphere,<br />

anecdotes and universal symbols,<br />

which can deeply move his audience,<br />

making them reflect and smile.<br />

56 <strong>POST</strong> <strong>SCRIPTUM</strong>

I don’t believe in afflation<br />

but in regular work.<br />

A journalist, a painter, an ex-rock-percussionist, and<br />

a composer. How did it happen that you became<br />

a photographer?<br />

I have been taking photos for more than 30 years. I have<br />

started with my old analogue camera “Zenit” and only one<br />

lens. I attended an art school, where we had a chance to<br />

experiment in the dark room with multiple layers of movie<br />

frames, and even with photomontages. However, they<br />

were lacking the precision which can now be achieved<br />

with computer programmes. When I discovered the<br />

possibilities of photoshop, I quickly switched to digital<br />

photography and editing. It started as a game by adding a<br />

dog-head onto my friend. It looked so realistic. I decided<br />

to take this path and create my little worlds based on bits<br />

and pieces from my regular photographs. From the very<br />

beginning, I wanted to create a realistic illusion.<br />

In the time of the Internet, computers, and easy access to<br />

free stock , almost everyone could create photomontages<br />

using Photoshop or other editing programs. You made it<br />

into a lifestyle. Where does this success come from?<br />

I think for me it was all about being systematic and<br />

consistent and to earn a living from it. I rarely needed to<br />

do commissions such as weddings and first communions.<br />

Several years ago, I decided to create one piece a day –<br />

no matter what. I don’t believe in sudden inspiration,<br />

only consistent work counts. With time and experience in<br />

using Photoshop, I started creating several pieces a day.<br />

In my opinion, if it is my work (,) all elements should be<br />

photographed by me, that’s why I never use stock photos.<br />

Open space, freedom, harmony, purity, clear picture,<br />

magic, contrast in tone and composition – these are the<br />

main characteristics of your works. What would you call<br />

your style?<br />

I would say it is neo-surrealist. I base my works on classics,<br />

which you can see in the composition of my photographs.<br />

I don’t like chaos or overcrowding in my works, I don’t like<br />

too many elements. I try to reach harmony for my stories<br />

to be clear and understandable. The magic lies in simplicity.<br />

Although I take inspiration from surrealism, understanding<br />

the artistic achievement of its creators, but I don’t copy<br />

anyone.<br />

Could you describe how you create your works? I am<br />

interested in the process.<br />

Usually, I start with the landscape. I look for something<br />

special, a base, whether it’s the rhythm, an interesting<br />

texture or something unique. Then I add the clouds, I have an<br />

abundant collection of them. I want them to complement,<br />

<strong>POST</strong> <strong>SCRIPTUM</strong><br />


visually, whatever is happening on the ground. I like<br />

repetitive rhythm patterns. I find the focal point (a person,<br />

an animal, or a plant), around which I build the story. I look<br />

for simple symbols that are comprehensible to everyone. I<br />

don’t want the focal points to be some accidentally added<br />

elements, but to be one form of a corresponding piece,<br />

ones which raise suspense and complement one another.<br />

What makes a collector’s piece of photography?<br />

Photography is generally repetitive. From an original<br />

digital piece, one can make thousands of prints, just like<br />

we used to be able to copy one plate into multiple prints.<br />

That influences the price (the more there are, the less it’s<br />

worth). For a copy to have some value to the audience it<br />

needs to be rehashed as little as possible. it happened a<br />

couple of times, that I have sold an original, single piece of<br />

my work. This makes the collector feel unique. More often<br />

I sell 30 signed copies of one work.<br />

I want to create<br />

a realistic illusion<br />

And why the square-frame?<br />

Many reasons: first of all, I have a sentiment for ( I am<br />

sentimental about ) the 6x6cm form which was so popular<br />

in analogue cameras of my youth (inter alia Start, Pentacon<br />

Six, Rolleiflex). This form is easier to compose from.<br />

Secondly, a square has the peace and harmony, which, as<br />

I mentioned before, I am looking for. Finally, I just want to<br />

be original, a square among rectangles.<br />

You are the creator of a new and surrealistic world,<br />

where does your inspiration come from?<br />

Mainly from nature. I travel a lot, trying to find new<br />

motives for my works. It appears to me that nature is<br />

most diverse and rich in inspiration. I have a couple of my<br />

favourite places in Poland, every time I visit them, they<br />

look different, which always surprises me. The Dunes in<br />

Czołpin near Łeba is one of those places. I have visited it<br />

at least several dozen times throughout different seasons<br />

and at different times of the day, each time finding a new<br />

idea to add to my compositions. Another place like that is<br />

Jeziorsko on the Warta river, it’s a unique landscape and<br />

at times an unreal one. It has been a base for many of my<br />

works.<br />

Your works have been compared to the ones by Salvador<br />

Dalí, do you have a favourite artist?<br />

Yes, I have heard about these comparisons but I feel a lot<br />

closer to René Magritte. For years I had been a painter, now<br />

I use that experience when I work on my computer. I also<br />

enjoy pieces by Jacek Malczewski, his use of the reds and<br />

shadows is remarkable. I adore Beksiński, I have also heard<br />

some of my darker works being compared to his. I am keen<br />

on impressionists, but most of all on Francis Bacon. It is<br />

impossible to list all the artists close to my heart.<br />

I have read somewhere that your private ambition is to<br />

create a visual Esperanto. Could you elaborate on this?<br />

They say “a painting is worth a thousand of words”. Through<br />

the use of simple visual symbols, like a tree or doors, we<br />

can reach a diverse audience, without even knowing<br />

their language. Esperanto was supposed to be the lingua<br />

franca, what Latin used to be. It was supposed to allow<br />

communication between people from all over the world.<br />

My works hang on the walls of houses standing on almost<br />

all the continents, that probably means that they are<br />

comprehensible to people from cultures fundamentally<br />

different to my own.<br />

58 <strong>POST</strong> <strong>SCRIPTUM</strong>

“A common mistake I notice in people creating montages is – as I call it – the Land of the<br />

Two Suns. Interestingly, it happens even to the best. It consists in the fact that the object<br />

placed on the background is lit from a different side than the background. Such a procedure<br />

immediately disqualifies work in my eyes. This is probably due to the rush and distraction<br />

of the vision. The author, delighted with what is playing in his soul, forgets in the main<br />

excitement about the main laws of physics. I have had some visible mishaps, so I’m sensitive<br />

to them. Yes, surrealism is governed by laws, distorts proportions, bends gravity, but in my<br />

opinion even flying hippos should be lit from the same side as the landscape over which<br />

they hover. From the beginning of my adventure with composing an image, my goal was to<br />

create an illusion of reality. So credible that the viewer would test whether he is watching<br />

a photomontage. “<br />

<strong>POST</strong> <strong>SCRIPTUM</strong> 59

I strive for HARMONY,<br />

I try to make my stories<br />

clear and legible.<br />

60 <strong>POST</strong> <strong>SCRIPTUM</strong>

the square has calmness in its shape<br />

<strong>POST</strong> <strong>SCRIPTUM</strong><br />


62 <strong>POST</strong> <strong>SCRIPTUM</strong>

I pay precise<br />

attention to<br />

how I cut the<br />

elements<br />

Your photographs demand incredible patience, realistic<br />

precision and taking care of even the smallest details.<br />

How long does it take to create one piece?<br />

I pay precise attention to how I cut the elements. I study<br />

them closeup, look for every edge so as not to unveil<br />

the illusion. Throughout the years I have gained fluency,<br />

almost a routine, thanks to which I can now finish one<br />

piece in one day. However, if there are many elements it<br />

takes much longer to finish a project. My record is 7 days<br />

– this was for a piece with hundreds of figures that I put<br />

together.<br />

Now it’s time for a technical question: what kind of<br />

camera and lenses do you use?<br />

For years I have been a loyal Canon-user. I owned a couple<br />

of models. Right now I work on Canon 5D Mark 3. It’s a full<br />

frame, which allows me to obtain high quality. It is more<br />

than enough for my needs. I am not a gear-geek, I only<br />

use portrait lenses with 1.4 light and a regular Canon kit<br />

21-105 mm for the landscapes.<br />

Artistic plans for the future?<br />

For the last dozen years or so, I have not allowed myself<br />

to rest, working from dawn to dusk, now I plan to take<br />

things a bit slower. To focus on promoting and selling what<br />

I already have. I am planning to publish two photography<br />

albums (one in black-and-white one, the other in colour),<br />

which will sum up my achievements to date.[RC]<br />

<strong>POST</strong> <strong>SCRIPTUM</strong><br />


***<br />

We learn each other like Adam and Eve<br />

from the tree of the knowledge of good<br />

and better<br />

You ripen in the sunshine of my gaze<br />

You ripen<br />

And I try to bite you<br />

Like the skin of an apple to learn<br />

Your true taste<br />

graphic: RC<br />

***<br />

We’re looking ahead:<br />

Meadows are walking to meet us<br />

Mountains climb up<br />

To our thoughts<br />

The world has fallen at our feet<br />

And now it’s fawning<br />

and purring<br />

***<br />

I feel good<br />

So good<br />

for I can see your thoughts<br />

And feel the red of your heart<br />

when under the bandages<br />

of your hands<br />

lie silenced<br />

all my wounds<br />

***<br />

When you are with me<br />

I forget the whole of God’s world<br />

for I myself become God’s world<br />

ideally perfect<br />

reflected in the mirror<br />

of your body<br />

***<br />

There’s no faith<br />

There’s no hope<br />

There’s love<br />

as pure<br />

as spring water<br />

There’s intimacy<br />

of two souls<br />

- petals<br />

of hot snow<br />

***<br />

I drink with my eyes<br />

the beauty of your body<br />

which flows<br />

through me<br />

so that I could<br />

swim in it<br />

***<br />

We lie on the edge of a forest<br />

The firs are looking into our eyes<br />

with their cones<br />

We talk silently<br />

With words of love<br />

And the alphabet of glances<br />

We shoot the breeze<br />

and weave a wreath for you<br />

from colourful flowers<br />

and confessions<br />

64 <strong>POST</strong> <strong>SCRIPTUM</strong>

***<br />

I fall asleep with a yearning<br />

for your lips<br />


I wake up in an empty bed<br />

full of you<br />

***<br />

Your feminity a flowery meadow<br />

My masculinity brambles<br />

I enter your life<br />

on tiptoes<br />

with my willpower - if you will?<br />

you turn a blind eye on me<br />

and disregard<br />

the burden of feelings<br />

Polish Poet, satirist, prose writer, columnist;<br />

lyrical debut in the magazine Radar,<br />

satirical debut in Szpilki (1977),<br />

book debut in Wydawnictwo Śląsk (1983);<br />

author of over 50 books, hundreds of song<br />

lyrics, musicals, cabaret shows; member<br />

of the cabaret group TON; hundreds of<br />

poems published in the press and in various<br />

collective editions; cooperation with the<br />

Polish Radio between 1989 and 2004, where<br />

his works were read by some of the county’s<br />

most outstanding actors; winner<br />

of approximately 100 literary contests,<br />

and of numerous awards for his literary<br />

and cultural achevements. He is a member<br />

of the Polish Writers Union and the Polish<br />

Society of Authors and Composers (ZAIKS)<br />

***<br />

I know you don’t love me<br />

And there’s nothing I can do<br />

Nothing anyone can do<br />

But if I could use fidelity<br />

yearning and pain<br />

to beg for<br />

love<br />

you would have been<br />

mine<br />

a long time ago<br />

***<br />

You lead me into temptation<br />

non-fulfilment<br />

and perdition<br />

What have I done to deserve<br />

this all-consuming despair<br />

without your breath<br />

to take in<br />

and to take away<br />

translated by Jarosław Fejdych<br />

<strong>POST</strong> <strong>SCRIPTUM</strong><br />


66<br />

66 <strong>POST</strong> <strong>SCRIPTUM</strong>

photo: Sylwester Ciszek<br />

on the other side of<br />

ALICJA C R I M E<br />

ALICJA STAŃSKA is a master of embroidery, an alumnus of École Lesage<br />

Paris. She has mastered traditional and lunéville embroidery and trained herself in different<br />

techniques from around the world. Additionally, she graduated with a master’s degree in<br />

criminology (specializing in Intelligence and Counter-Intelligence Services) from UTH in Warsaw.<br />

Stanska uses her art to teach and fight for human rights. During Design Days 2014, she presented<br />

a lecture titled Slavery in 21 st Century. In 2015, her collection of works The Thread of Life was<br />

exhibited in the National Gallery of Art in Sopot. In 2016 another of her collections The Most<br />

Expensive Product of the World was dedicated to unveiling the human trafficking problem. To<br />

spread awareness on the important issue of organ trafficking Alicja made a set of paintings called<br />

Body in which some of the embroidery acted as an interpretation of old surgical sketches. The<br />

exhibition was displayed at a well-known gala organized by the Foundation for Transplantology.<br />

For the past several years the artist has been preparing the exhibition Whose Fault, which is<br />

going to be shown in Poland amongst other European counties. The promotion poster was<br />

created by an award-winning Paris-based Polish artist Michał Batory. Stanska is also the head of<br />

the Promotion of Artists and Craft Foundation. In 2017, in the heart of Warsaw she has opened<br />

her own art gallery, which aims at promoting both new as well as already established artists.<br />

Despite being awarded for her artistry and craftsmanship, Stanska still strives for perfection. She<br />

is not afraid to ask her audience and other institutions difficult questions, nor she is afraid to<br />

challenge them. Her search allows her to find the often-dramatic truth, which hides behind her<br />

beautiful objects.<br />

67<br />

<strong>POST</strong> <strong>SCRIPTUM</strong> 67

I have always been interested<br />

in the sources of violence<br />

photo: Damian Andrzejewski<br />

Alicja Stańska<br />

Every day we are bombarded with violence. It has<br />

become an inseparable part of news and television.<br />

The newspapers day by day write about violent murders,<br />

about acts of violence, often aimed at children. Now and<br />

then a new extremely dangerous serial killer surfaces and<br />

causes panic. The most famous ones, if they are caught<br />

and charged, get the media’s attention, and become the<br />

“heroes” of movies and books. Violence is incorporated<br />

into the world order. Does it mean that the more we<br />

get to know about it the less sensitive we are to it? Less<br />

vigilant? Especially in the days of a global pandemic, the<br />

violence is often quietly hidden behind the closed doors<br />

of our neighbourhoods.<br />

What then is the role of the artist in the process of<br />

spreading awareness on growing violence? Do they, and if<br />

so, how do they need to move their audience? According<br />

to Stańska, they should take a closer look at the sources<br />

of the crime.<br />

The conversations with an incredible woman, an artist,<br />

a mother, an art patron.<br />

How did it happen, that after graduating from<br />

a pre sti g ious e m broide r y sc hool you be cam e<br />

a criminologist?<br />

I have always been interested in the sources of violence,<br />

ever since I was child. Not literally how one commits<br />

a crime, how one kills, but what pushes a human being<br />

to commit a crime. The observations from my childhood,<br />

seeing some situations, reassured me that it is necessary<br />

to seek the answer to my question: where does the evil<br />

come from?<br />

Where did the idea behind your exhibition Whose Fault,<br />

which you are currently finishing off, come from? From<br />

memories or maybe from a sense of mission?<br />

The exhibition is a result of my thoughts that stem from<br />

my childhood, but it is also the effect of my scientific<br />

work. I have worked through tons of literature, I have<br />

68 <strong>POST</strong> <strong>SCRIPTUM</strong>

„T he mind of an artist<br />

is similar to the mind of a serial killer”<br />

Denny Devos<br />

analysed the biographies of different killers, also<br />

the serial ones, focusing on their childhood. I have<br />

read the opinions of multiple experts: psychologists,<br />

psychiatrists, criminologists, profilers. I have seen<br />

plenty of documentaries presenting “true crime”. The<br />

knowledge that I gained during my studies allowed me to<br />

use it in practice and to prepare for the difficult subject<br />

of my exhibition. I have watched almost every available<br />

movie and series on crime! When I became a criminology<br />

student, even during my first year, I was sure I was going<br />

to make this exhibition. I wanted it to be the crowning<br />

of my studies. The most important part for me was its<br />

educational side.<br />

Are you more focused on the victim or the mechanism<br />

leading to the crime?<br />

On the conditions. On the mechanism. The victim is<br />

always the result of the crime. The victim of a serial killer<br />

is not only an individual, it can also be a community. The<br />

fear changes the customs. In many cases, if a serial killer<br />

appears in a certain area, the people living there are afraid<br />

to leave their homes, they lose trust in strangers and even<br />

in one another. They fortify in their houses, and the serial<br />

killers remain active. The answer that I am trying to find<br />

is: why?<br />

“The difference between people who despite their<br />

disorders become brave, and people who use their<br />

abilities in criminal activity, is that they have been<br />

raised differently.” Park Dietz<br />

“The idea of a victim-to-oppressor trope allows to<br />

understand both the societal dysfunctions and its<br />

relation to crime” Jadwiga Mazur<br />

During my criminology studies, I never thought that I<br />

would become a mother. Suddenly I was pregnant. I didn’t<br />

know how I would be influenced by maternity. When I<br />

gave birth to my daughter, I began to gain more and more<br />

interest in how the rising of a child influences their ability<br />

to become a killer. Being an artist, I want to show the<br />

scheme of a family. The process of victimization during<br />

childhood and its long-term effects: the lack of trust,<br />

depression, the feeling of danger, little self-confidence,<br />

low social skills, or aggression can influence the victim<br />

and thus make them an oppressor.<br />

How did you come up with the idea to embroider crime<br />

scenes and to form the characters in three-dimensional<br />

print?<br />

I have always seen the criminal’s mind as similarly fragile<br />

to embroidery. At first, I was sure that I will embroider<br />

the portraits of the serial killers using lunéville, my<br />

area of expertise. However, as soon as I started gaining<br />

knowledge on this subject, I decided to show it in a<br />

completely different way. The portraits are not important,<br />

it is us the people, who take care of the children, not only<br />

the parents but also orphanages, foster families, relatives<br />

– we are all responsible for the psyche and raising of a<br />

child. Some people love while some harass their children.<br />

The latter should never be the guardians.<br />

I decided I will not show the lone portraits of a killer, I will<br />

show the moment at which unconsciously they became<br />

one. Embroidery is my way of expression so I started<br />

thinking about how I can incorporate it into my idea. I<br />

asked my friends to act as the models for the crimes and<br />

then I had to somehow make it a part of the exhibition.<br />

What helped me was modern technology. The scenes<br />

were played out in the office of Wolf 3D Studio, then<br />

scanned. We had to immobilize the models and adapt<br />

them to the conditions of scanning. The whole process<br />

took about six months. Finally, the scans were transferred<br />

to the printer and then created in a three-dimensional<br />

form. Now, how could I add my embroidery to it? The<br />

ground of every crime scene is incredibly important.<br />

Where the body is found, forensic specialists need to<br />

secure the evidence, which directs the investigation –<br />

that was the lacking element of my work – I saw that the<br />

place for embroidery was on the ground of a scene. The<br />

installation was made using different types of embroidery<br />

that I have gained throughout my years of experience.<br />

That, combined with the modern technology of 3D<br />

printing, allowed for realistic possibilities. The ground of<br />

a crime holds the evidence, sometimes the victim’s body<br />

doesn’t have them.<br />

<strong>POST</strong> <strong>SCRIPTUM</strong><br />


foto: Dominik Hajder<br />

You closed the crime scenes in cages…<br />

A cage is a symbol of enslavement, especially when a child<br />

is raised in one home with an executioner. Then a cage<br />

becomes the metaphor for punishment of the crime. All<br />

identified serial killers were given life sentences and/or<br />

sentenced to death. It can symbolize mental enslavement.<br />

My collection was presented in 9 vintage cages for birds<br />

and one over 100-year-old dollhouse. Every criminal got<br />

their cage. It is a scene in which we play out the criminal<br />

act. The act, which is the last stage of the violence that<br />

started during childhood at the hands of the closest ones.<br />

I can imagine that it was time-consuming and laborious<br />

to create this project. Alicja, how do you work with<br />

embroidery?<br />

I can be invested in the work for eight, ten hours, after<br />

four I realise that I have been sitting in complete silence,<br />

it seems impossible that so much time has passed. My<br />

work requires full concentration.<br />

How long does it take you to work on an exhibition?<br />

The gathering of materials, literature, documents,<br />

analysis, meetings with different experts, and then the<br />

creative process?<br />

70 <strong>POST</strong> <strong>SCRIPTUM</strong><br />

To be honest, I have been invested in the topic of<br />

psychopath’s minds for twelve years! I analyse, break it<br />

into small parts, ask questions, find details. I have been<br />

working on this exhibition for two years, but I think that<br />

it will take me at least six more months to finalise this<br />

project. My studies, which prepared my scientific and<br />

professional background, lasted five years. I’ve been<br />

planning to show the first exhibition in April <strong>2021</strong> but<br />

considering the rapidly changing pandemic, it might be<br />

impossible.<br />

In how many countries are you planning on showing it?<br />

In ten. It might turn out that I will have more opportunities,<br />

I have some new propositions, but it all depends on the<br />

external factors.<br />

So, it is also symbolic – ten places, ten serial killers 1 , ten<br />

crime scenes, one common theme: the upbringing and<br />

childhood. How is the violence born?<br />

I focused on the cruellest crimes that I’ve analysed, which<br />

resulted in ten symbolic scenes. There are people who<br />

torture new-borns, in most cases the babies do not<br />

1 Richard Kuklinski, Charles Manson, Alieen Wuornos, Ted Bundy,<br />

John Wayne Gacy, Richard Speck, Dennis Rader, Andrei Chikatilo,<br />

Edmund Kemper, Jurgen Bartsch.

survive. The ones that do, often continue to experience<br />

violence. Sometimes parents die tragically e.g., in a<br />

car accident, children end up in orphanages and foster<br />

families, or sometimes with random people who are<br />

completely uninterested in their upbringing. Among the<br />

ones that I finally show as the aggressors, nine out of<br />

ten have experienced victimisation in their own families.<br />

Charles Manson was sold by his mother to prostitutes,<br />

and then he was raised by different care centres and foster<br />

families. In the information that I have gathered, I found<br />

a common element – it was there that he experienced<br />

the greatest harm. There are sources that describe the<br />

situations in orphanages – many of their cruel practices<br />

came to light after years. Most well-known were the cases<br />

of children from Ireland, Belgium, and the United States<br />

of America, some also came from Poland. Currently, I<br />

am reading a book written by a Polish woman living in<br />

Canada about cases of extreme cruelty. 2 I need to take<br />

2 Joanna Gierak-Onoszko: “27 śmierci Toby'ego Obeda”<br />

breaks from reading – its content is paralysing. The book<br />

describes the children, the grown-ups that have been<br />

through a long-term violence from the hands of the de<br />

facto national institutions. The survivors of “care” centres<br />

in Canada can be seen as similar to the survivors of the<br />

Holocaust.<br />

Whose fault is it? The abused children do not understand<br />

why they are being harmed by their guardians. Often,<br />

they see themselves as guilty of it, they protect their<br />

oppressors.<br />

A mother becomes one with the child to which she gives<br />

birth. If a child experiences abuse, they lose their sense<br />

of safety. And still they love and protect their oppressor.<br />

Often the children living in orphanages, despite their<br />

tragic experiences, still await their patents. They miss<br />

them and feel responsible for what has happened. The<br />

problem arises when they become adults. In the future<br />

children like these will focus on themselves, they will fight<br />

only for themselves. Patrick Diaz, my guru, an American<br />

foto: Dominik Hajder<br />

<strong>POST</strong> <strong>SCRIPTUM</strong> 71 71

I have always seen<br />

the criminal’s mind<br />

as similarly fragile<br />

to embroidery.<br />

Kidneys, embroidery<br />

Liver, embroidery<br />

psychiatrist who works with FBI and CIA, sums it up<br />

shortly: “a person, broken as a child, no longer thinks<br />

about another being as an adult.”<br />

Can the evil really be unnoticed for years? Often, only<br />

after the crime happens, the neighbours learn that<br />

the victim was so close to them, no one figured it out,<br />

no one said anything. Who should educate the people?<br />

Is it the role of artists – the most sensible individuals<br />

in our society?<br />

This is a very important question – as an artist I have<br />

addressed several institutions in Poland asking for help in<br />

organising the exhibition, however, I received no support.<br />

I also did not receive any reasonable arguments for not<br />

helping me. I do not know if the representatives to whom<br />

I talked were scared by the burden that the subject of<br />

serial killers carries, or rather, as I was informed in one<br />

of the emails: “this subject is not the key to judge if<br />

someone becomes a bad person”. I feel as if they told me<br />

that this topic is not real. The United States introduced<br />

profiling based on cooperation of therapists, psychiatrists,<br />

criminologists, the police, special services, in which they<br />

not only seek for the criminal, but also for their motives and<br />

conditioning they experienced in their childhood which<br />

led them to become the “criminal”. I have asked experts<br />

on their opinion on my exhibition. On multiple occasions,<br />

I have heard: “you are born a serial killer, a psychopath”.<br />

No one is born as pure evil. Often paedophiles are raped<br />

when they are little. The victim becomes the aggressor.<br />

I had the chance to talk to a foundation which protects<br />

children from domestic violence. There was an idea to<br />

create workshops for parents and teachers that would<br />

spread awareness on the initial symptoms of domestic<br />

violence. The foundation was to support this project with<br />

their own experts. A few days ago, I received a message<br />

that they will not engage in my project because this<br />

subject is not really related to their area of expertise,<br />

which does not involve art. What else is a better mission<br />

of education other than art? It is unbelievable that even<br />

the NGOs concerned with human rights did not decide<br />

to help me. Paradoxically the answers were similar – we<br />

do not touch upon violence. To whom then, should a<br />

child, a human being experiencing violence, talk to? For a<br />

change, when I was sharing my project with a well-known<br />

French criminologist, a professor from Sorbonne, the<br />

answer came back immediately. The exhibition took long<br />

to come together. However, thanks to my stubbornness,<br />

and the importance of the topic, and the good people<br />

that I have encountered, the project is slowly but surely<br />

coming to an end.<br />

It is apprehending that the legitimisation of violence<br />

and the violation of human rights appears in everyday<br />

life. Maybe that is why artists are being blocked. Or<br />

maybe people are afraid to talk about difficult subjects.<br />

As a mother I have taken part in female forums<br />

concerning the upbringing of children and family. I was<br />

terrified to learn about the social acceptance of physical<br />

punishment, of screaming, of emotional manipulation.<br />

Very often spanking done on the bare bottoms of a young<br />

girl by a father can influence her perception of sexuality<br />

and maturity in her future relationships. Giving allowance<br />

to violence, especially the lack of any reaction results in<br />

its propagation.<br />

We are facing difficult times. Data shows that domestic<br />

violence has grown considerably during lockdown.<br />

This is terrifying. I think that after the lockdown concerning<br />

the pandemic and violence, which happens behind closed<br />

doors, it will take several years for a wave of people with<br />

psychopathic predispositions to appear. The imposed<br />

change of lifestyle, lockdown with the oppressor can<br />

72 <strong>POST</strong> <strong>SCRIPTUM</strong>

Details<br />

photo: Damian Andrzejewski<br />

cause the appearance of domestic violence, which wasn’t<br />

even there to begin with.<br />

How, at the end of the day, you were able to get in touch<br />

with experts, psychologists, criminologists for them to<br />

support your project with their knowledge?<br />

I started addressing them as a criminologist, and therefore<br />

as an expert myself, not only as an artist. I did not get this<br />

degree to try and find criminals, I needed the knowledge<br />

to protect human rights. It has opened a lot of doors<br />

for me. Together, with my newly formed team, we are<br />

developing extensive educational materials. I wouldn’t be<br />

able to do it by myself as I don’t have the psychological,<br />

psychiatric, or pedagogical knowledge. I needed experts<br />

in these fields. I can share some secret with you – I am in<br />

contact with one of the most well-known specialists on<br />

the psyche of serial killers in the world. I would like to give<br />

the people the courage to act when they see violence,<br />

I want them to feel and identify the symptoms.<br />

Are you opening the Pandora box?<br />

I realized that for a lot of adults, that have experienced<br />

this kind of violence, this exhibition will be a key to<br />

understanding the reasons behind evil. It will open them<br />

up. It will allow them to understand what the mechanism<br />

behind the evil is. The children are innocent. I decided<br />

that it would be too traumatic to only come back to the<br />

memories. That’s where the idea of creating a supportive<br />

group of experts came from: their help, the material we<br />

prepare in every country in which we will present the<br />

exhibition, giving the resources on where to seek help,<br />

where their questions can be answered, are all crucial.<br />

Alicja, for whom is this exhibition?<br />

For future and current parents. For sensitive people, for<br />

the ones that have experienced violence, for the ones<br />

who are afraid of it. For the people that are indifferent<br />

to evil. For the ones who are curious in what ways art can<br />

express a topic as difficult as this one. The audience which<br />

wants the thrills because they have watched too much<br />

true crime on Netflix, won’t find what they are looking<br />

for. Technically the exhibition is only for of-age viewers.<br />

I want to stress this: its main aim is to educate every<br />

single citizen of the world, of every belief. This exhibition<br />

is a tribute to the experts who explore the minds to<br />

prevent such tragedies. It’s a bow for every member<br />

o f se r v ic e s that are burde ne d by the ir re spo nsibilitie s.<br />

It is also a thank you to all of my teachers.<br />

What do you see through your magnifying glass?<br />

Human harm. Fault. Whose? Let’s be vigilant.<br />

You have said some beautiful words – this exhibition<br />

is a promise that you have made to your daughter.<br />

Can you comment on that?<br />

I have promised my daughter that I will do everything<br />

in my power for her to have a beautiful childhood,<br />

development, knowledge and that I will fight for the same<br />

for other children.<br />

What next, can you tell us?<br />

Traveling with the exhibition will take around two years.<br />

But I am already working on a new idea. Next challenge.<br />

Next education. “Paedophilia present in the media.” [KBS]<br />

<strong>POST</strong> <strong>SCRIPTUM</strong><br />


Arco van Ieperen<br />

Arco van Ieperen was born in Gouda, the<br />

Netherlands, but has lived and worked<br />

in Poland for over two decades. As a<br />

lecturer at the State University of Applied<br />

Sciences in Elblag, he teaches general and<br />

business <strong>English</strong>, business correspondence,<br />

marketing and economics. He writes poetry<br />

in Dutch, <strong>English</strong> and Polish, has received a<br />

number of awards for his Dutch and Polish<br />

poetry and has been published in various<br />

magazines and anthologies. He is a member<br />

of the Alternative Elblag Literary Club and<br />

the Alternative Society, which organizes<br />

the annual “Wielorzecze” literary festival in<br />

Elblag. He is currently working on a volume<br />

of poetry in Polish.<br />

74 <strong>POST</strong> <strong>SCRIPTUM</strong>

Hiccup<br />

Stutthof<br />

in sunny thunder<br />

through the gate of death<br />

seven decades later<br />

shadows digging graves<br />

folds in a field of forget-me-nots<br />

embraced by barbed wire<br />

numbered stars<br />

bathing in sweat and ignorance<br />

arbeit macht frei<br />

all saw the blue sky again<br />

at the end of the chimney<br />

Downtown pub<br />

A blue haze surrounds the lights,<br />

letting loose the beasts only the dark<br />

will tolerate. Minds are muddled,<br />

depressions drowned, as time<br />

is reduced to a single dot, the world<br />

a small room.<br />

Sounds soothe like a soft blanket,<br />

wrapping a careless concoction<br />

of searching souls on a quest<br />

to quell their fears. Feelings<br />

forever left unspoken, lost<br />

in a labyrinth of obscuring language.<br />

The world’s a mirage of unsolved mysteries<br />

and the greatest are to be found<br />

deep inside ourselves.<br />

The lingering kiss on the doorstep<br />

still chills my spine. Leaving feels<br />

like stepping into a moving prison, caught<br />

between white lines, a stranger’s<br />

reflection in the mirror.<br />

My temporary abode welcomes me<br />

like an ill-fitting straightjacket,<br />

the oppressive walls chasing me<br />

out to explore ancient desires.<br />

I study humanity at night, lazily<br />

drifting like flotsam with one<br />

tasty specimen demanding<br />

further inquiry. The room<br />

a cave inciting excitement.<br />

Long lost rituals revived,<br />

an ecstasy as durable<br />

as the parting cigarette.<br />

The flickering streetlight guides<br />

the high-heeled echoes of a sinful<br />

sidestep. Denial sets in.<br />

It’s just a minor hiccup, bound<br />

to disappear if I only hold<br />

my breath.<br />

On the line<br />

My private shame washed<br />

in a public lavatory where all<br />

is on display. My life reduced<br />

to ridiculous clips and sound bites,<br />

served in five-minute portions<br />

to a hungrily awaiting world,<br />

to be devoured and regurgitated.<br />

Too well-bred to lower myself<br />

to the gutter, I feel I’m slowly<br />

being choked by embarrassment<br />

and a lump of pride too big<br />

to be swallowed.<br />

<strong>POST</strong> <strong>SCRIPTUM</strong><br />


Izolda Kiec about Ginczanka<br />

Aleksander Rafałowski, Portrait of Zuzanna Ginczanka, 1937<br />

(National Museum in Warsaw; free domain)<br />

„and behind<br />

me, a streak<br />

of raw poems<br />

mark my trace”,<br />


She has been known as a legend of the<br />

Warsaw bohemia in the interwar period.<br />

As an exotic beauty who brought the<br />

bored capital of Poland to its knees in the<br />

mid-1930s. Men competed for just one<br />

walk in the company of this pretty young<br />

lady and women talked about her with<br />

a sneer. Jan Kott wrote many years after<br />

the war: “She had one eye so black that<br />

the iris seemed to obscure the pupil, and<br />

the other was brown with golden spots.<br />

Everyone admired her poems, in which<br />

something Persian was revealed, just like<br />

her beauty”.<br />

Over the years, she was present almost<br />

exclusively in the memories of Polish<br />

writers and poets, including the most<br />

outstanding ones: Julian Tuwim, who<br />

was considered her promoter, Witold<br />

Gombrowicz, attracted to her mysterious<br />

personality, Józef Łobodowski, who<br />

tried to attribute to himself the merits<br />

of commemorating this contemporary<br />

Shulamite.<br />

Who was she really? A nineteen-year-old<br />

who, in her debut – the only volume of her<br />

poems included this one – Otherness:<br />

Look:<br />

a purple troubadour announces a festival with piped<br />

cries –<br />

merchants distribute scarlet and ointments with<br />

heaped spoons<br />

on stilts of glass sopranos singing ladies sway and<br />

swoon –<br />

dancers jangle torsos and the jewels of their thighs –<br />

– And you bore yourself<br />

traipsing<br />

the same streets<br />

every day,<br />

and in your health is death’s malaise<br />

like a needle in the veins.<br />

Joy flows,<br />

though nowhere near,<br />

in a pink ship of stealth,<br />

down a far-off, alien river<br />

of ultramarine and clay.<br />

They’ll talk about your grief: ‘’flatfooted, sorry,<br />

stunted’’<br />

They’ll talk about your sorrow: ‘’as bland as you<br />

please’’.<br />

No verses of line fabrics,<br />

nor any odes abundant<br />

will remind them<br />

who you were<br />

far beyond the seven seas.<br />

76 <strong>POST</strong> <strong>SCRIPTUM</strong>


Zuzanna Polina Gincburg was born on March<br />

9, 1917 in Kiev. Probably at the end of that year,<br />

her parents – Cecylia (nee Sandberg) and Szymon –<br />

decided to move to Równe Wołyński, where Chaja and<br />

Abram Sandberg resided. And it was them, Gincburg’s<br />

grandparents, who raised the girl when her father<br />

left for Berlin, and her mother made a new life for<br />

herself. (A few years before the outbreak of World<br />

War II, Cecylia married the Czech brewer Walter Roth,<br />

with whom she emigrated to Spain).<br />

The Sandbergs lived on the main street of the<br />

city – 3 Maja 132, in a magnificent brick house, one<br />

of the very few there. Its ground floor was occupied<br />

by a pharmacy owned by her grandmother –<br />

a shop where you could buy literally everything, from<br />

medicines to cinema tickets. Sanka – as Zuzanna was<br />

called at home – had a special task assigned by Chaja.<br />

As Kazimierz Brandys recalled: “before every Christmas,<br />

she decorated the display of her grandmother’s shop<br />

dressed like an angel. She would kneel in a white dress<br />

with wings, a silver band on her forehead, or maybe<br />

gold, and white shoes’’.<br />

Izolda Kiec about Ginczanka<br />


(– and to relish words is such joy,<br />

To cherish, to sip them like wine –<br />

To hold, to lift them up, to view in a light divine).<br />

Adjectives stretch like cats<br />

Cats are meant to be cuddled, oh, so,<br />

Soft cats cosy and warm purr poetry andante,<br />

maestoso,<br />

Cats with eyes that spring forth lakes,<br />

Emerald pools deep enough to drown,<br />

Dreamily, I stare into their pupils<br />

Green and blue reflected deep down.<br />

This is the shape and the form,<br />

This content of indispensable renown,<br />

The firmness of the essence of things,<br />

Matter made manifest as a noun.<br />

And the stillness it is of the world<br />

And calm, and still and at rest,<br />

A thing that lasts, still and is,<br />

The world into flesh compressed.<br />

Here are simple tables and hard wooden benches,<br />

Here is gentle dew and summer rain that drenches,<br />

Here is a red church with its heaven-bound dart,<br />

And a veiny, pulsating, simple old human heart.<br />

It wasn’t an Orthodox Jews’ household. Chaja<br />

was – as we would say today – a modern philanthropist<br />

and activist of Jewish women’s organizations. No wonder<br />

that she carefully educated her granddaughter, who<br />

attended the French kindergarten of Madame Sauvage,<br />

took music and drawing lessons, and subscribed to<br />

Lviv and Warsaw literary magazines. Finally – Gincburg<br />

became a student at the best high school in Równe –<br />

the Polish State Junior High School named after Tadeusz<br />

Kościuszko. It must have been a real challenge for<br />

a girl raised in a home where only Russian was spoken.<br />

Zuzanna learned the Polish language herself. What’s<br />

more – as a student of the 5b class, she made her debut<br />

as a poet by publishing a poem called A holiday feast.<br />

Her poems officially announced in the school magazine<br />

concerned the reality of the school, lessons, and<br />

readings. They show an extraordinary talent and reveal<br />

a unique poetic imagination.<br />

In 1934, Zuzanna took part in the “Literary<br />

News” Young Poets Competition; it is said that at<br />

the instigation of Tuwim himself, as it was probably<br />

Sanka’s mother who had previously sent him several<br />

poems for evaluation. The debuting poet received<br />

a distinction for the poem Grammar, in which her<br />

interest in language was revealed – sensual and<br />

conscious, announcing a creator aware of her craft.<br />

No wonder that immediately after graduating from high<br />

school, Zuzanna – as Ginczanka – moved to Warsaw ...<br />

Right in the heart<br />

of the Capital’s downtown<br />

As Tuwim’s favourite, young Zuzanna would<br />

visit the first floor café of Mała Ziemiańska on<br />

Mazowiecka street, accompanied by Scamanders<br />

(a Polish group of experimental poets founded in<br />

1918 by Julian Tuwim, Antoni Słonimski, Jarosław<br />

Iwaszkiewicz, Kazimierz Wierzyński and Jan Lechoń).<br />

She published mainly in Skamander, and in 1936 she<br />

published the volume About Centaurs, which, although<br />

did not arouse much criticism, began building her<br />

legacy at Warsaw salons. The reviews that appeared in<br />

the press after the publication of Ginczanka’s collection<br />

of poems show that the author’s craftsmanship was<br />

appreciated and that the difference and individuality<br />

of this poetry was noticed. And it looks like the<br />

elements that we value and admire today in her poetry,<br />

were a problem to the critics at the time. A problem<br />

they couldn’t quite deal with. So, they patronized<br />

or discredited her.<br />

<strong>POST</strong> <strong>SCRIPTUM</strong><br />


Zuzanna Ginczanka, Anna Nogid (Zuzanna’s aunt), Maria Zenowicz, (wife of K.Brandys). Równe 1938 (owned by I. Kiec)<br />

Izolda Kiec about Ginczanka<br />

artists gathered around Witold Gombrowicz,<br />

meeting at the “Zodiak” cafe. This group<br />

included: Stanisław Piętak, Kazimierz Brandys,<br />

Stefan Otwinowski, Giza Ważykowa – a group<br />

of followers of the philosophy of “Mr. Witold”,<br />

accepting specific “table” forms and rules.<br />

Perhaps the reality created by this eccentric<br />

and weirdo helped Ginczanka to forget about<br />

the hunt for her for a moment, to believe that<br />

thanks to literature, thanks to artistic creation<br />

– it is possible to survive. “I remember,” Witold<br />

Gombrowicz wrote to Stanisław Piętak after the<br />

war, “that, returning home from “Zodiac”, I was<br />

explaining to Gina, that for this upcoming war,<br />

one must have poison. And she laughed”...<br />

Perhaps, thanks to her acquaintance with<br />

Tuwim, Zuzanna found herself in the circle of young<br />

artists who, at the turn of 1935 and 1936, started<br />

publishing the satirical weekly Szpilki. The editorin-chief<br />

of the magazine was Zbigniew Mitzner, the<br />

most important illustrators being: Eryk Lipiński,<br />

Andrzej Siemaszko, Jerzy Zaruba, Henryk Tomaszewski,<br />

and well known poets: Światopełk Karpiński, Janusz<br />

Minkiewicz, Stanisław Jerzy Lec, Andrzej Nowicki,<br />

Edward Szymański. And amongst this male group<br />

of satirists, the one and only woman – Ginczanka.<br />

Apart from social jokes and scuffles, there were many<br />

moral issues revealed in her poetry, insightful social<br />

observations, but also many fears. It is known from<br />

recollections that Ginczanka was hit by anti-Semitic<br />

attacks more than once – at the University of Warsaw,<br />

where she studied education, and among suspicious<br />

writers and “gentlemen journalists” employed<br />

in tabloid magazines. The anonymous editors of the<br />

Warsaw newspaper “I Know Everything” published in<br />

<strong>Feb</strong>ruary 1937, a disgusting text entitled Dear friend<br />

Gincburżanka! Don’t be… Ginczanka.<br />

Shortly before the outbreak of the war,<br />

Zuzanna probably felt best in the company of young<br />



In June 1939, Zuzanna went on holiday<br />

to see her grandmother. She didn’t know that<br />

she’d never come back to Warsaw. At the<br />

beginning of 1940, she moved to Lviv, where<br />

she could be closer to the literary world, which<br />

she must have missed so much. In magazines<br />

published by the Association of Polish and<br />

Ukrainian Writers, she submitted her own<br />

poems and translations (including works by<br />

Lesia Ukrainka, Paweł Tyczyn, Włodzimierz<br />

Majakowski, among others). But she also made<br />

important decisions regarding her private life.<br />

She married Michał Weinzieher – lawyer by<br />

education, art critic by passion. Strange as it<br />

was, her decision to marry him allowed to save<br />

Grandma. Michał was well-known among Soviet<br />

dignitaries, and Zuzanna probably wanted to<br />

help her grandmother, who had been evacuated<br />

by the new authorities from her beautiful<br />

family home to an uncomfortable outbuilding.<br />

It worked, because right after the wedding of her<br />

granddaughter, Chaja returned to the apartment<br />

above the store.<br />

But it was not Michał Wienzieher<br />

who was Zusanna’s love at that time. Janusz<br />

Woźniakowski – a graphic designer, graduate<br />

of the Academy of Fine Arts in Krakow and<br />

activist of the communist underground –<br />

accompanied the poet in those most difficult<br />

and dramatic moments of her life. In Lviv,<br />

when, after the Nazi troops entered the city<br />

78 <strong>POST</strong> <strong>SCRIPTUM</strong>

Izolda Kiec about Ginczanka<br />

Book cover “O centaurach” Warszawa 1936) “School Echoes” – debut of Zuzanna Gincburżanka, Poetry of Ginczanka; Pub. Marginesy, Warszawa<br />

and after the creation of the ghetto, Ginczanka (now<br />

an Armenian named Marysia) was hiding in an apartment<br />

in a tenement house at 8a Jabłonowskich Street,<br />

and in Kraków, where they both died.<br />

The escape from Lviv to Krakow was forced<br />

by Zuzanna’s deteriorating situation. The former<br />

caretaker of the tenement house, where the poet<br />

lived – an anti-Semite and informant, Zofia Chominowa<br />

– reported several times to the Gestapo that a Jewish<br />

woman was hiding in her house. All Zuzanna’s friends<br />

were escaping, but she kept returning to the house<br />

closely watched by Chominowa. It was then that she<br />

wrote her last poem, referring to My Testament by Juliusz<br />

Słowacki, beginning with a phrase from Horace:<br />

Non omnis moriar – all my proud estate,<br />

Meadow table clothes, wardrobe castles strong,<br />

Swathes of table linen, homely treasures great,<br />

And dresses, light dresses – these are my swan song.<br />

Because I leave behind not a single heir,<br />

Let your curious hands through my Jew things browse,<br />

Ms Chomin of Lviv, my volksdeutscher betrayer,<br />

May they serve you well if conscience allows.<br />

And you, dear neighbours, recall my name and face<br />

As you remembered me when the Gestapo came,<br />

Minding to show them my hiding place,<br />

They noticed me then. Now, mind me again.<br />

Drink to my grave and supposed wealth:<br />

Fine drapes, candlesticks, my remains your prize:<br />

Goblets raise, friends, to your lasting health,<br />

Drink all night, drink! And when the sun does rise<br />

Start hunting for gemstones, digging for gold<br />

Through mattresses, sofas, furnishings what may<br />

The bounty you seek, the treasures you want hold<br />

As you go tearing into stuffed horsehair and hay.<br />

Feathers ripped from cushions, clouds of gutted quilts<br />

Will snow upon your hands, turn your arms to wings,<br />

Pure white down will bind my blood congealed<br />

Letting you take flight, my angels, my kings.<br />

Zuzanna and Janusz left Lviv when<br />

the information about her grandmother’s death reached<br />

them – Chaja Sandberg died of a heart attack on her way<br />

to the execution site in Zdołbunów or Sosenki. Nothing<br />

held Sanka there no longer. The most dramatic and final<br />

stage of the escape had begun.<br />

In Krakow, Zuzanna initially hid at Zyblikiewicza<br />

Street in the Güntner family’s apartment, where<br />

Wienzieher was already living under the assumed<br />

name of Danilewicz. She then moved to Wróblowice<br />

near Krakow and here at the beginning of 1944 she<br />

was informed about the arrest of Woźniakowski, which<br />

took place during an accidental round-up, or as a result<br />

of a provocation aimed at liquidating the communist<br />

underground in the capital of Małopolska. Zuzanna then<br />

returned to Kraków and found shelter with a friend,<br />

artist Elżbieta Mucharska, on Mikołajska Street. From<br />

here, in <strong>Feb</strong>ruary 1944, the Gestapo captured Ginczanka<br />

and took her to the prison at Montelupich Street, and<br />

then at Czarnieckiego Street. She told the women<br />

staying with her in the cell that she had been handed<br />

over by the caretaker with whom she had conflict;<br />

because of her dress, or maybe some other, not very<br />

important ‘Jewish thing’ …<br />

<strong>POST</strong> <strong>SCRIPTUM</strong><br />


Izolda Kiec about Ginczanka<br />

Eryk Lipiński, Caricature of Zuzanna Ginczanka (owned by Izolda Kiec).<br />

<strong>POST</strong> <strong>SCRIPTUM</strong><br />

After the war, Julian Tuwim wrote<br />

to Zbigniew Mitzner: “Every day I remember<br />

those who died, every day I sigh for them,<br />

especially for my poor friend Ginczanka ...”<br />

And Gombrowicz to Piętak: “Please, tell me<br />

when and how poor Gina died. Why are you<br />

saying that she was tortured? “<br />

Jan Śpiewak, Kazimierz Wyka and Juliusz<br />

Wiktor Gomulicki started preparations for<br />

publishing selected poems by Zuzanna<br />

Ginczanka. Julian Przyboś published her last<br />

poem in Odrodzenie – which soon became<br />

evidence in the trial of Zofia Chominowa,<br />

an “informer”, accused of handing over<br />

Jews to the German police. However,<br />

the deliberations of the Szczecin Writers<br />

Convention in 1949 were not favourable<br />

for Zuzanna. She was called “Tuwim in<br />

a skirt”, a bourgeois poet, an epigone of<br />

the Scamandrites. It was decided to forget<br />

about her. And it was only in the 1990s that<br />

Zuzanna returned to our literature and the<br />

awareness of readers. All of Ginczanka’s<br />

works were published, including manuscripts<br />

saved by Eryk Lipiński, who liquidated<br />

Zuzanna’s Warsaw apartment in September<br />

1939. The poet’s monograph was published,<br />

and numerous artistic works inspired by her<br />

biography and poetry.<br />

The last traces of Zuzanna Ginczanka are<br />

her demands for food and clothing that she signed,<br />

sent from prison to the Polish Welfare Committee<br />

of Krakow-City. The last one dated April 18, 1944. There<br />

are many indications that the poet was moved in the<br />

last transport of prisoners from Krakow to the Płaszów<br />

camp and shot there on May 5, 1944.<br />

After the publication of the first<br />

selection of Ginczanka’s poetry in 1991,<br />

Wacław Oszajca said, not completing his<br />

thought: “without poetry, the life of this<br />

young girl ...” Let me finish the sentence:<br />

without poetry, the life of this young girl<br />

would not be remembered. Zuzanna<br />

Gincburg would be one of the millions,<br />

anonymous, deprived of a name, individual<br />

features or individual history, just a victim<br />

of genocide. Did she sense the drama of her<br />

own death and the power of her poetry in<br />

the beautiful yet tragic Bird’s glow, when<br />

she wrote: “and behind me, a streak of raw<br />

poems mark my trace”? [IK]<br />

80 <strong>POST</strong> <strong>SCRIPTUM</strong>

Izolda Kiec about Ginczanka<br />

Publisher. Marginesy, Warszawa<br />

Izolda Kiec; fot. A. Wykrota<br />



Izolda Kiec<br />

Publisher. Instytut Kultury Popularnej, Poznań<br />



Izolda Kiec - prof. dr hab. in the field<br />

of cultural studies; literary scholar<br />

and a theatrologist; president of the<br />

Popular Culture Institute Foundation,<br />

employed at the University of Arts in<br />

Poznań(at the Department of Curating and<br />

Art Theory). The author of articles and<br />

book monographs on literature and the<br />

theatre of the 20th century and forms<br />

of popular culture, including: Editor<br />

of the works of Zuzanna Ginczanka,<br />

Roman Tadeusz Wilkanowicz and Felicja<br />

Kruszewska. In 2015, awarded by<br />

the Minister of Culture with the<br />

“Meritorious for Polish Culture” badge.<br />

In 2016 and 2020, a scholarship holder<br />

of the Minister of Culture and National<br />

Heritage in the field of literature. In<br />

2017, she received a scholarship from<br />

the Marshal of the Wielkopolska Province<br />

in the field of Culture and protection of<br />

national heritage.<br />

<strong>POST</strong> <strong>SCRIPTUM</strong><br />


MONIKA<br />


www.monikacichoszewska.com<br />

Outdoor PAW Model: Kasia<br />

Black and white combined with chiaroscuro<br />

build an atmosphere of nostalgia, filled with<br />

emotions and mystery, peace or drama.<br />

82 <strong>POST</strong> <strong>SCRIPTUM</strong>

Fotografuje wielkoformatowymi aparatami. innych, w których zajęła 4 pierwsze, 3 drugie<br />

i 3 trzecie miejsca oraz 15 Honorable<br />

Fascynuje ją praca w ciemni i procesy<br />

chemiczne, a w szczególności technika Mention: Tokyo i Moscow International Foto<br />

mokrego The artist kolodionu, takes pictures którą using wybrała large-format jako cameras. Fascinated Awards, by working Fine Art in Photography, a dark room, chemical Black&White processes<br />

medium<br />

and, in particular,<br />

przekazu<br />

the<br />

artystycznego.<br />

wet collodion technique, she has chosen<br />

Spider,<br />

this<br />

Monochrome,<br />

medium of artistic<br />

Neutral<br />

transmission.<br />

Density,<br />

The<br />

Art<br />

photographic<br />

reality is one created by her, associated with the unknown, resulting from the physical and chemical process<br />

of creating the<br />

Rzeczywistość fotograficzna<br />

photograph. Currently,<br />

jest rzeczywistością<br />

She consciously kreowaną and clearly przez refers nią, to połączoną<br />

nature, showing how Ambrotypy much we are prezentowała connected it, how na much wystawach we depend<br />

Cichoszewska<br />

Limited,<br />

is working<br />

Portret<br />

on projects<br />

Prawdziwy.<br />

called Desires and Coexistence.<br />

z niewiadomą on it. Nature irrevocably wynikającą imposes z procesu on us the rhythm of passing, indywidualnych as the consequences w Galerii of seasons, Strefa life Art cycles: the<br />

fizykochcemicznego time of birth, adolescence, powstania love, maturity, zdjęcia. and death. w Żorach oraz Oko we Wrocławiu.<br />

Realizuje obecnie cykle zatytułowane: „Pragnienia”,<br />

took 4 ”Współistnienie”. first places, 3 second W and swojej 3 third twórczości<br />

places as well as między 15 Honorable innymi: Mentions: „Korzenie” Tokyo and w Moscow Centralne Interna-<br />

Oko,<br />

Brała udział w wystawach kolektywnych<br />

Monika Cichoszewska is a winner of the international photo contest DEBUTS 2017 and many others, in which she<br />

świadomie tional Photo i wyraźnie Awards, Fine nawiązuje Art Photography, do natury, Black&White Poznań, Spider, Monochrome, w Muzeum Neutral Fotografii Density, Art Limited, Real<br />

pokazując Portrait. odbiorcy jak silnie jesteśmy<br />

w Bydgoszczy, Festiwal Fotografii Tradycyjnej,<br />

Zabrze, BWA Kielce.<br />

z nią związani, jak bardzo zależymy od niej.<br />

She presented her ambrotypes at individual exhibitions in the “Art Zone Gallery” in Żory and “Eye” in Wroclaw.<br />

Natura nieodwracalnie narzuca nam rytm Jej prace zostały ostatnio wybrane<br />

The artist took part in collective exhibitions, including “Roots” in the “Centralne Oko” in Poznan, the Museum of<br />

przemijania, Photography jako in Bydgoszcz, następstw the Festival pór roku, of Traditional cykli Photography, i prezentowane Zabrze, BWA w Kielce. wystawach Her work „Light was recently Sensitive”<br />

at the Intersection Galeria Art Gallery, Intersection, Gilbert, USA, Gilbert, “Living Image”. USA,<br />

selected<br />

czasu and presented narodzin, at the dojrzewania, exhibitions “Light miłości, Sensitive” życia:<br />

dojrzałości Halide Project i śmierci. Gallery, Philadelphia, USA, 13 JMC Women „ Photographers, Living Image”. Nostrum Galeria Photo Halide Gallery, Project, Barcelona.<br />

Laureatka międzynarodowego konkursu Philadelphia USA, 13 JMC Women Photographers,<br />

Galeria Foto Nostrum, fotograficznego DEBUTS 2017 oraz wielu<br />

Barcelona.<br />

Julka<br />

I remember times when taking photos required skills<br />

and equipment (including darkroom kits). Now anyone<br />

can take a shot, even with the phone, there are<br />

more opportunities for example, with digital editing.<br />

Is photography finished as an art form, or is the<br />

opposite?<br />

Are we really still questioning if photography is art?<br />

My favourite artist and photographer Zdzislaw Beksiński<br />

once wrote in a letter to a friend, another photographer<br />

Jerzy Lewczynski: “photography, as such, cannot be art,<br />

and this lies in its very essence. The whole attempt of<br />

taking an artistic photo is a contradiction and it’s the<br />

biggest nonsense you can imagine. Remember what<br />

I’m going to tell you Jurek because today I’m under<br />

influence of alcohol and in a seer mood. Photography<br />

is not art! Puffery! Shit! Sham! Bye!” You could agree<br />

with this, but sometimes I subjectively feel that some<br />

photos can qualify for the title of art if they engage,<br />

evoke emotions, provided that they do not reflect<br />

reality. Perhaps, thanks to computer manipulation,<br />

photography is now even closer to art. Everyone should<br />

find the answer to this question within themselves.<br />

Dedicated to the forest; Model: Agnieszka Surdej; outdoor PAW<br />

What camera and what lenses do you shoot with?<br />

I use XIX century technique and take pictures using glass<br />

plates. I have an old Kodak View Camera large format<br />

cameras 6 1/2” x 8 1/2” (about 16.5 cm x 21.5 cm) and<br />

originating from the GDR: Mentor Panorama 18cmx<br />

24cm, Głobica 18cmx 24cm lenses 250, 300, 360 Tessar<br />

and Graflex camera 4 x 5 “ Aero Ektar lens, 210 Tessar.<br />

I used to take black-and-white photos because in<br />

the past the colour was difficult to achieve (different<br />

magnifiers, different photographic film, different photo<br />

chemicals). And now, when technology allows you to<br />

show colours without any restrictions, photographers<br />

are running away from colour. How did you develop<br />

your passion for black-and-white photography?<br />

Let me explain that ambrotype imposes<br />

monochromatism because the image on the glass forms<br />

a metallic silver, and unexposed parts of a picture are<br />

transparent, meaning they become black. Despite the<br />

fact that these are quite contrasting photos, they are<br />

<strong>POST</strong> <strong>SCRIPTUM</strong><br />


very beautiful and glowing when you look at them.<br />

This happens due to the shimmering silver and<br />

three-dimensionality created by the base material<br />

of glass. It is the appearance of the original and its<br />

reality that attracts me in this technique.<br />

Black and white combined with chiaroscuro,<br />

in my opinion, most successfully create the<br />

atmosphere of nostalgia, imbued with emotions<br />

and mystery, calmness or drama. Black-and-white<br />

photography does not correctly convey the reality<br />

that we perceive with our eyes in colour, thereby<br />

manipulating it, often introducing an element of<br />

visual uncertainty that can puzzle the recipient<br />

and encourage them to stay with it longer.<br />

You have taken many beautiful, sensual, painfully<br />

real, almost stripped photos. For me, nudity is<br />

beautiful, pure, and natural. A naked woman<br />

is the quintessence of beauty, the embodiment<br />

of the beauty of nature. What do you think? How do<br />

you use this (sorry for the term) ‘’tool’’ – the naked<br />

body of a model?<br />

Beautifully said: “the embodiment of the beauty of<br />

nature.” That is exactly what nudity is. My female<br />

nudes lack the erotic elements. Nudity does not absorb<br />

all the viewer’s attention. It is only a way to show<br />

expressions, a way to show relationships, emotions, and<br />

our coexistence with nature. I want these images to be<br />

poetic, so that they penetrate deeper into our inner<br />

world, so that the recipients can find in them a part<br />

of themselves, especially that meditative part.<br />

Sometimes I watch shows about famous<br />

photographers. And it always surprises me that<br />

the photo scene is usually put together beforehand,<br />

a model is arranged against a pre-prepared<br />

background. All the photographer needs to do is to<br />

press the button. I admit that this amuses me.<br />

David predator - Model: David Hemke, Make-up: Ewelina Łośko<br />

84<br />

84 <strong>POST</strong> <strong>SCRIPTUM</strong>

Feelings,<br />

Outdoor @plener_lody<br />

Models @anna_urbanska201anson @aadaa_l<br />

an emanation<br />

of the wonders of nature<br />

@Outdoor_lodyModel: Yulia<br />

<strong>POST</strong> <strong>SCRIPTUM</strong> 85<br />


The picture is born in ahead. It needs to be created,<br />

felt, and composed. A child from kindergarten can<br />

click the button. How are your photos created?<br />

Do you see them before they come into being?<br />

I agree. It doesn’t discredit digital photography, but<br />

for me, processing a large number of photos, making<br />

countless decisions in the post-production stage, is an<br />

endless struggle with oneself. Traditional photography<br />

forces a different approach, forces thoughtful shots at<br />

the stage of creating a photo and limits the number<br />

of photos taken. To explain my approach to working<br />

on a photo closer, I put that in stages:<br />

The first stage is the search for aesthetic experiences,<br />

inspirational motifs previously imagined or already<br />

existing somewhere. Most often it is a forest, river,<br />

meadow, trees, branches or an industrial constituent,<br />

a search for a background to take a photo of a person.<br />

The second stage is looking through the camera’s<br />

matte matrix (the matte matrix is frosted glass: 16 x21,<br />

5 cm or, for example, 18x24cm. The opaque coating<br />

allows you to view the image. To set the focus we<br />

often use magnifying glasses with x10 magnification<br />

search for composition, selecting elements and their<br />

proportions, and placing the subject among them.<br />

You need to assess the need for perspective correction<br />

(required in architecture photography) or purposefully<br />

changing perspective and focus if this is the desired<br />

result. Using a wide-format camera is very interesting<br />

since the picture of reality captured on the focusing<br />

screen is “upside-down” and it’s a mirror image of<br />

the world and it’s incredibly beautiful. This image for<br />

me is subjectively final. To capture it, I record it on<br />

a light-sensitive material, collodion plate, as due to<br />

its specificity, brings me closest to the original image<br />

viewed on the focusing screen.<br />

The next stage is the preparation of light-sensitive<br />

material in a manual chemical process (it takes place<br />

in a portable photo lab, most often it is a special tent).<br />

Accompanied by the smell of ether, I pour iodized<br />

Helium over the transparent glass followed by a bath<br />

of silver nitrate. After 3-4 minutes, the emulsion<br />

becomes light-sensitive, and you can put the plate<br />

in the cartridge.<br />

The last stage involves exposing the image: waiting<br />

or the right moment, the soft light falling at the set<br />

and the model (often it all changes mischievously,<br />

when I arrive with the sensitized plate at the set)<br />

correcting the position of the person’s body, their gaze<br />

and getting the focus right before manually opening<br />

and closing the lens, measuring passing seconds out<br />

loud.<br />

The next magical stage of the image preserving<br />

process pojawiam can się also z uczuloną involve the kasetą person na observing planie), skorygowaniu<br />

the<br />

slow<br />

ułożenia<br />

disclosure<br />

ciała fotografowanej<br />

of her image in<br />

osoby<br />

the photo.<br />

i jej spojrzenia<br />

This is<br />

oraz<br />

emotional. It takes from 30 minutes to 1 hour to<br />

produce<br />

ustawieniu<br />

a single<br />

ostrości,<br />

image.<br />

a następnie<br />

Each time,<br />

na<br />

the<br />

manualnym<br />

end result<br />

otwarciu<br />

is<br />

burdened i zamknięciu by some obiektywu, degree mierząc of the unknown. sekundy na When głos.<br />

it Emulsja is disappointing, kolodionowa you jest need bardzo to repeat mało the światłoczuła, shot. The<br />

resulting co w efekcie effect powoduje is influenced długi by czas both naświetlania the work of - the od<br />

photographer, kliku do kilkunastu the model, sekund. the Najdłuższy weather conditions, czas, w jakim<br />

and chemical processes that occur during the<br />

wykonałam zdjęcie z modelem, to 5 min 30 sek. Od<br />

whole process. In that way, the implementation<br />

of momentu the project włożenia acquires płyty a subjectively do kasety nieubłaganie multiplied biegnie<br />

artistic czas, który value oddala as well możliwość as personal wywołania and emotional obrazu utajonego.<br />

W zależności since od each temperatury photo is otoczenia, a one-off, jest to od 10<br />

consequences,<br />

impossible min do maksymalnie to repeat. This 20-30 is what min. attracted me to<br />

this<br />

W kolejnym<br />

technique<br />

magicznym<br />

as well as the<br />

procesie<br />

fact that<br />

utrwalenia<br />

it is an instant<br />

może<br />

process.<br />

uczestniczyć również fotografowana osoba, obserwując<br />

I powolne have this ujawnianie idea in my się head: jej wizerunku a project named:<br />

zdjęciu,<br />

“Poland a towarzyszą in one temu picture”. emocje. To show Na wykonanie Polishness jednego<br />

in zdjęcia just one należy frame. poświęcić Would od it be 30 a min religious do 1 godziny.<br />

procession?<br />

Rezultat końcowy,<br />

Session<br />

za<br />

in<br />

każdym<br />

the parliament?<br />

razem obarczony<br />

Maybe<br />

jest<br />

a<br />

demonstration? The picture is not clear yet. What<br />

would<br />

pewną<br />

you<br />

dozą<br />

see<br />

niewiadomej.<br />

in a photo like<br />

Kiedy<br />

that?<br />

jest on niezadawalający,<br />

trzeba powtórzyć zdjęcie. Na uzyskany efekt składają się<br />

I bowiem don’t think zarówno I could działania show such fotografa, an extremely fotografowanej diverse<br />

society osoby, in warunki the 1st termiczne, photo. It’s jak an interesting i procesy chemiczne question<br />

– it would be a challenge, but rather for a carefully<br />

zachodzące w jego trakcie. Realizacja projektu zyskuje<br />

thought through series. There are too many black<br />

and w ten white sposób aspects subiektywnie to clearly define zwielokrotnioną who we are. wartość<br />

artystyczną oraz implikacje osobiste i emocjonalne, gdyż<br />

każde zdjęcie jest jednostkowe, niemożliwe do powtórzenia.<br />

To właśnie ujęło mnie przy wyborze tej techniki oraz<br />

to, że jest to proces natychmiastowy.<br />

Kiedyś myślałem o takim projekcie: “Polska w jednym<br />

zdjęciu”. Pokazać polskość w jednym kadrze. Czy byłaby<br />

to religijna procesja? Obrady w Sejmie? A może jakaś<br />

demonstracja? Jeszcze się ze sobą wewnętrznie nie<br />

pogodziłem. Co Ty widziałabyś na takim zdjęciu?<br />

Chyba nie umiałabym w 1 zdjęciu pokazać tak zróżnicowanego<br />

skrajnie społeczeństwa.<br />

Ciekawe pytanie-wyzwanie, ale raczej na przemyślaną<br />

serię. Jest zbyt wiele aspektów, czarno-białych, by jednoznacznie<br />

określić jacy jesteśmy.<br />

The collodion emulsion is very little light-sensitive,<br />

which leads to a long irradiation time from a few<br />

to a dozen seconds. The longest time it took me to<br />

take a photo with a model is 5 min 30 sec. Time runs<br />

inexorably from the moment the plate is inserted into<br />

the cassette, which delays the possibility of conjuring<br />

the hidden image. Depending on the temperature, it<br />

takes from 10 minutes to a maximum 20-30 minutes.<br />

86 <strong>POST</strong> <strong>SCRIPTUM</strong><br />

Faint breath of the wind, Model Yulia, Chorwackie plenery

What does Monika Cichoszewska like to do when she’s<br />

not holding a camera?<br />

My absolute dream come true was when I was flying<br />

as a licensed glider pilot. For example, in the Croatian<br />

thermal streams at an altitude of 950 m above sea level.<br />

I still really miss the space and adrenaline. I have also<br />

passed a diving PADI exam. I have dived in extremely<br />

difficult conditions in Poland, but also in the magnificent<br />

coral Ko Tao and in Israel with dolphins – a magical<br />

experience! Diving, however, for me is about overcoming<br />

my own phobias. Currently, I devote myself entirely to<br />

photography, my development in this field, attending<br />

gatherings, meeting people like me with a photographic<br />

passion. I love jazz. I love to travel, and I organize it<br />

myself. Most of all I am attracted to Japan – been there<br />

4 times, but the place still excites me. [JP]<br />







Emotional self-portrait<br />

Model @madlenn.model@plener_lodyModel @madlenn.model<br />

Kamila<br />

Models: Dawid Hemke i makijaż Ewelina Łośko @QueenAkashaMua, Agnieszka Surdej, @loreleyyulia, @ aadaa_l, @ madlenn.model, Plenery: @plenerywchorwacji, @plener_lody, @analogowywroclaw<br />

<strong>POST</strong> <strong>SCRIPTUM</strong><br />


POETRY<br />

Recommended<br />

photo: Marek Truszkowski<br />

Agnieszka Herman<br />

88 <strong>POST</strong> <strong>SCRIPTUM</strong><br />

Agnieszka Herman - Polish poetess, journalist, graphic<br />

designer. She published Wybuchło słońce (The Sun<br />

Exploded, Warsaw 1990), Zapisane światłem (Written by<br />

the light, Warsaw 1995) Jesienią najtrudniej iść środkiem<br />

dnia (The hardest thing is walking in the middle of the<br />

autumn day , Warsaw 2015), Punkt styczności (The crosscut<br />

point - poems collected in Bulgarian, 2018). Her poems<br />

have been published in many anthologies and magazines<br />

in Poland, Bułgaria, India, Turkey, Japan, Kingdom of<br />

Great Britain, Ukraine and USA. She participated in many<br />

polish and international literature festivals. Finalist of<br />

2020 Orpheus Poetry Award K.I. Gałczyński for her Late<br />

Styles book Tło (Background, Warsaw 2019). She won<br />

the readers’ and participants’ vote at the awards gala<br />

[Poetry Award K.I. Gałczyński 2020]. She cooperates with<br />

large publishing houses in Poland where she designs book<br />

covers. She is the author of cover designs, some of them<br />

international bestsellers. She is a member of the Polish<br />

Haiku Association.

Quarantine<br />

let the window and snow be the background.<br />

a poet stands against the barrel of the lens<br />

without a pose usually ready for such occasions.<br />

a suit button dangles on the last thread.<br />

we wait for a ray of sunshine.<br />

for contrast. for a glance,<br />

which will lead us somewhere.<br />

and then darkness appears.<br />

the poet rests his head on it.<br />

he closes his eyes. he is at home.<br />

In a black and white photograph<br />

you can breathe like before.<br />

Rivers flow, we used to jump into them.<br />

In the bend. It’s deeper there.<br />

Under a mountain covered in spruces.<br />

Where we were basking on the rocks,<br />

where we were building dams,<br />

where we were pulling out troutes with our hands,<br />

where we were skipping stones,<br />

where we were looking for glistening small fish,<br />

where we were singing and waiting.<br />

I miss you my river. I miss you bright day.<br />

translated by Anna Maria Mickiewicz<br />

translated by Kaja Herman<br />

“LATER”<br />

I am looking for a suitcase on the internet for “LATER”.<br />

Red one as courage that allows you to hit the road.<br />

I will start in the restaurant Honorata with father Tomasz.<br />

We will order a duck with beetroot and baked apple.<br />

I had my wedding there. It’s June. The shortest night of the year.<br />

A crowd of guests. Pheromones or perfume.<br />

Buzzing in the head. Lots of flowers.<br />

We leave some of them at the monument<br />

of the “Little Insurrectionist”.<br />

Helmet too big for a boy’s head. I will not give my child to war.<br />

I take a bath with freesias, roses, sunflowers.<br />

They are in the bedroom. On the balcony. On my dress.<br />

Our life smelled like a florist for a long time.<br />

Right “LATER” we will be ready.<br />

I will have a red suitcase.<br />

And the priest a wreath of flowers on the head.<br />

translated by Kaja Herman<br />

let a dream be the background<br />

I have a hat with a thousand butterflies.<br />

they are swarming overhead.<br />

they flutter with velvet wings.<br />

I smile at the reflection<br />

in the exhibition windows.<br />

people are passing by<br />

crossing to the other side<br />

because butterflies are black<br />

like death.<br />

translated by Anna Maria Mickiewicz<br />

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POETRY<br />

IRINA<br />


RC<br />

Union of Translators of Russia,<br />

as well as the founder and the<br />

president of the international art<br />

festivals “Lanterna di Genova”<br />

in Italy and “Steppe Lira” in<br />

her homeland – in the stanitsa<br />

Novopokrovskaya. She is also<br />

the Goodwill ambassador from<br />

the city Camagna Monferrato<br />

(Piemonte, Italy).<br />

THAT’S WHY<br />

I know that’ll never die.<br />

Have nothing for death to pay.<br />

But like a star in the sky<br />

I’ll go another way.<br />


A modern Russian<br />

poet, translator, journalist. She<br />

was born in March 21, 1964<br />

in Southern of Russia – in the<br />

stanitsa (Cossack settlement)<br />

Novopokrovskaya, Krasnodar<br />

Region, in a family of doctors.<br />

She graduated from an <strong>English</strong><br />

special school in Moscow,<br />

Pirogov`s Russian State<br />

Medical University with a<br />

degree in children’s neurology<br />

and the Literary university<br />

named after Maxim Gorky.<br />

Irina is a member of<br />

the Union of Russian Writers,<br />

the head of the literary<br />

translation section of the<br />

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The winner of numerous<br />

national and international<br />

awards, including the Grand<br />

Prize of the International Literary<br />

Foundation named after Milan<br />

Füsht of the Hungarian Academy<br />

of Sciences and the International<br />

Russian Prize founded in Czech.<br />

The author of 10 books<br />

of poems: “The Fourth Troy”,<br />

“Caesarean section”, “Order<br />

of Hospitallers”, “Terra Italica”,<br />

“Country of dragonflies”,<br />

“Memory card”, “Ligurian Gulf”,<br />

“I’ll draw a large and ripe wave<br />

today”, “Gardens behind the<br />

heart”. Her poems are translated<br />

into <strong>English</strong>, Italian, Chinese,<br />

Hungarian, Slovak, Macedonian,<br />

Belorussian, Uzbek.<br />

Irina Kovalyova , s poetry<br />

belongs to a modern literary<br />

movement called “The realism of<br />

light”.<br />

​Don’t ask me – it’s not OK! –<br />

To close my eyes and trust.<br />

This year, this month, this day,<br />

This minute could be my last.<br />

​And so, my friend, that’s why<br />

To do all my best I try<br />

In order to see as much<br />

As possible and to touch,<br />

​To hear, to learn, to feel,<br />

Don’t stay like the water still,<br />

To travel, to fly, to smell<br />

And all that remember tell.<br />

Don’t force after you to repeat.<br />

You’ll never succeed with it!


Small insects shoot into the air,<br />

Leave minute bubbles on the water<br />

And dizzy with desire, they pair,<br />

An insect couple, a son, a daughter.<br />

I’ve sung the whole long lovely summer –<br />

And forty of them, not just one! –<br />

Like an enchanted, dazed newcomer,<br />

Like a grasshopper in the sun.<br />

I’ve danced myself, in little wings<br />

Made out of glitter-covered gauze.<br />

We seniors danced in, of all things,<br />

The morning show – to wild applause!<br />

My family came to nursery-school<br />

To watch our childish insect plays.<br />

I hated that industrious fool,<br />

That ant, with all his selfish ways.<br />

I still do, may God punish me.<br />

I know. My reason’s weak at times.<br />

I love the thing that’s given, that’s free,<br />

A ray of sunlight or these rhymes.<br />

The joy, when Saturday comes round –<br />

While Monday morning is sheer hell.<br />

To work oneself into the ground<br />

Is something fools can do quite well,<br />

To force one’s way past mindless friction<br />

Until there’s only bed – forget<br />

That inspiration, poems, fiction,<br />

Elude the zealot’s fishing net.<br />

I love all simple, effortless things;<br />

The industrious poet lacks romance.<br />

Small wonder that God granted wings<br />

To grasshoppers and not to ants.<br />


We buy the tickets for both of us.<br />

The chance of a fast train is slim.<br />

Most poets gallop on Pegasus,<br />

But you and I live under him.<br />

Not laden like pack-mules, we fly,<br />

We spread our wings, survey the scene.<br />

Look north – there’s Moscow, look south –<br />

why,<br />

There’s Tula – where I’ve never been,<br />

Although I eat its sweet spice-cake –<br />

All seven patterns, a special brand.<br />

My nephew always loves to bake<br />

Sand-pies on scattered river sand.<br />

It’s mixed with clay from the Oka,<br />

Washed almost white.<br />

Young Vova roams<br />

The river-bank; his sand-pies are<br />

Like Easter-cakes with little domes.<br />

Our dacha’s amber, the roof is green.<br />

It’s not as spacious or as tall<br />

As other dachas you’ll have seen,<br />

But it’s the loveliest of them all.<br />

Here everything’s sealed in a glow<br />

Of resin, window-frames to eaves,<br />

And only Pegasus can know<br />

What poems we have up our sleeves.<br />

translated by Mary Hobson<br />

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It is impossible not to compare your paintings with the<br />

art of the Polish master Zdzislaw Beksinski and H. R<br />

Giger. What do you think and how do you feel about it?<br />

Such comparisons, especially in the style I represent, are<br />

very difficult to avoid. I don’t feel particularly bad about<br />

it, although the fact is, the vast majority of people are<br />

looking for the influence of Beksinki and they are literally<br />

everywhere. To be honest, it really doesn’t matter to me.<br />

I don’t feel any pressure, because as an artist, I constantly<br />

look for my own form of expressing emotions.<br />

I’ve read that you have no formal art education, that<br />

you are self-taught. I, as an all-round self-taught person,<br />

admire your hard work and your desire for self-improvement.<br />

What was your artistic path? Did you start<br />

by copying the masters? And if so, who?<br />

My creative path began in my youth, when I drew with<br />

what I could, on what I could. Later, I expressed my passion<br />

for creativity with pencils and and watercolours. In<br />

fact, I spread my wings when I discovered acrylic paints.<br />

This gave me new opportunities and the energy to create.<br />

I’ve stuck with them to this day, and this is my favourite<br />

medium. There were, of course, attempts to imitate<br />

94 <strong>POST</strong> <strong>SCRIPTUM</strong><br />

other artists, but I saw it more as a kind of exercise and<br />

test of my abilities. The leitmotif on which I based my<br />

art in my youth was a broadly understood fantasy, which<br />

I quickly completely abandoned in favour of surrealism,<br />

and more recently “ melancholic industrialism”, as I like<br />

to define my work.<br />

How long does it take you to complete one painting?<br />

It depends on how many things are interrupting me<br />

whilst I am working. I am a person who is completely<br />

absorbed in all kinds of activities. In addition to drawing,<br />

I also love sports, especially mountain long-distance<br />

running, obstacle recess and kettlebells workout (s).<br />

Training takes a lot of my time and I try to reconcile<br />

these two passions, although I admit that this is not an<br />

easy task. Generally speaking, one painting takes about<br />

a month.<br />

Do you believe in afflatus?<br />

I believe in hard work, persistence and an endless<br />

passion for creation. I don’t wait for an inspiration and<br />

I don’t really think about it. I draw because I breathe it.<br />

The whole world depicted in my paintings is with me

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twenty-four hours a day. Maybe this is a constant inspiration?<br />

I don’t know if I can answer this question unequivocally.<br />

How many pictures have you drawn so far? Do you<br />

keep any records?<br />

I have no foggiest idea; I don’t do numbers.<br />

What is art for you?<br />

An escape from everyday life. It is my own world, where<br />

I like to immerse myself, move around and absorb every<br />

part of it.<br />

What inspires you?<br />

Everything that surrounds me.<br />

Zdzislaw Beksinski worked at his home, in the twilight,<br />

using artificial light. How are your paintings created?<br />

What is your favourite place to create?<br />

I create at home to the accompaniment of my favourite<br />

music.<br />

What is The Sacrament of Awakenings?<br />

This is the title of a book I wrote some time ago. The<br />

Sacrament of Awakenings is a horror novel in the atmosphere<br />

of the Walking Dead, Resident Evil with a trace of<br />

Silent Hill. This project took a lot of energy.<br />

The text, cover design and illustrations are all my own<br />

creation. There is a second part in my drawer waiting to<br />

be finished. Perhaps one day I will strive to have them<br />

published.<br />

You belong to the Facebook group called The Dark<br />

Side of Art, you listen to Behemoth, you are a fan of<br />

The Walking Dead, you write about zombies, why such<br />

interests?<br />

I have always been interested in unusual, dark subjects,<br />

on the verge of madness. I’ve been involved with black<br />

metal and similar types of music since I was very young.<br />

Behemoth is one of my favourite bands to this day. The<br />

post-apocalypse topic has always stimulated my imagination<br />

and is very close to my heart. I literally absorb<br />

all kinds of creativity related to the zombie theme. This<br />

fascination probably started within the first minutes of<br />

playing such games as Resident Evil or S. T. A. L. K. E. R.<br />

(this is not exactly post-apocalyptic, but the vibe is cool).<br />

I’ve been a fan of anything to do with electronic entertainment<br />

for more than twenty years, and in my free<br />

time, apart from sports or painting, I like to get under the<br />

skin of virtual reality game characters.<br />

What do you do professionally?<br />

I am a P.E. teacher, and I also have many other coaching<br />

credentials. I’ve been involved with sports for as long as<br />

I can remember. I started out like most guys, playing all<br />

day on the football field and running around the yard.<br />

This was followed by taking part in track and field events:<br />

sprint races, relay races or long jump events. Now I’m<br />

mostly involved with long-distance running, which I mentioned<br />

already.<br />

Your work is characterized by the high quality and the<br />

amount of small details (in my opinion), are you a patient<br />

person in other areas of life?<br />

In sports, yes. In other areas, I often have less patience.<br />

Where can someone view/ buy your paintings?<br />

I do not like to part with my works, but of course, they<br />

are for sale. I can be contacted through social media.<br />

I also have a Facebook page dedicated to my painting.<br />

Recently, Instagram users can also dig into my art. In<br />

addition to virtual spaces, I occasionally exhibit my work<br />

in art galleries.<br />

Finally – what’s your advice for young artists?<br />

Do what you believe in.<br />

Thank you. [RC]<br />


<strong>POST</strong> <strong>SCRIPTUM</strong> 99 99



gold vein of the city<br />

lights at evening<br />

rips from night’s skin<br />

blinds, engrosses<br />

All see, desire<br />

the gold vein<br />

none can buy it<br />

or even touch<br />

you never know<br />

where its light leads<br />

even the cat can’t know<br />

who walks the roofs<br />

grains of gold sand<br />

run down the streets<br />

rushing to steal the new born day<br />

and when the sun’s eye lifts its lid<br />

the gold vein disappears<br />

none know this magic<br />

none saw the witch<br />

graphic: RC<br />

***<br />

even windmills fall from the sky<br />

and sink in your eyes<br />

you stepped from a Modigliani<br />

which I never<br />

managed to paint<br />

paradise apples fall from trees<br />

escape to paradise<br />

and I look out between them<br />

for your traces<br />

to find out<br />

where you came from<br />

and where I’ll disappear<br />

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DEVIL<br />

have you ever felt the devil<br />

like a storm wave<br />

swim right to the threshold<br />

as you and a girl make love<br />

and with the voice of a choked stream<br />

demand help<br />

perhaps to cut<br />

your dream life short<br />

when tulips flower<br />

so very sad<br />

bereft of time<br />

that he might share<br />

something heroic<br />

at the games others invent<br />

in stories of unfinished fights<br />

and fictional as many things<br />

possessing eyes<br />

lighting fires<br />

hands that can shake the world<br />

and thoughts to wring out<br />

violence from every man<br />

but worst<br />

to feel the devil as you stroll<br />

with promenades<br />

amongst fresh fruit stalls<br />

still sitting<br />

strangely quiet<br />

without even a<br />

bottle of beer<br />

just sitting<br />

watching you<br />

and waiting<br />


bear paws are massive<br />

he can sweep the world with them<br />

bear paws<br />

are impractical and un-useful<br />

when he destroys that which he wants<br />

kiss these paws<br />

suck each finger<br />

when desire<br />

crumbles on your lips<br />

you will not return to sense<br />

desire regardless of the cost<br />

to find yourself<br />

amid a world swept by<br />

this beast of fur<br />

the plush lookalike<br />

you’ve loved since childhood<br />


a square<br />

is perfect equality<br />

of a four-sided world<br />

a triangle<br />

is a poor square<br />

a circle<br />

is a perfect square<br />

a sphere<br />

is absolute<br />

but only<br />

squaring the circle<br />

is invincible<br />

graphic: RC<br />

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IN INDIA<br />

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The festival organizers: Nagasuseela Panchumarthi<br />

and Gopichand Paruchuri.<br />

Foreign Delegates<br />

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All For Peace, Peace For All<br />

Guntur is not the largest (about 750 thousand<br />

inhabitants), but one of the most densely<br />

populated cities in the world, located in the<br />

central-eastern part of India, only 40 km from the Bay<br />

of Bengal, almost 1,800 km by rail from New Delhi,<br />

a journey which takes at least 33 hours (I have not<br />

tried).<br />

Here in Guntur the International Poetry Festival<br />

is organized (last September for the 13th time),<br />

traditionally in the buildings of JKC College, which<br />

for the occasion is always decorated with fresh<br />

flowers, petals and twigs. Outside there are tuk-tuks,<br />

scooters, and cars speeding in various directions,<br />

seemingly without any order or plan. Noise and chaos.<br />

And inside, behind the door – several hundred people<br />

enjoying poetry. Unreal...<br />

The latest festival, for obvious reasons, took place<br />

online, but I want to bring back memories about<br />

the 12th edition of the festival, which happened<br />

in September 2019, as it is worth to mention.<br />

Our polish group was invited To India by Dr.<br />

Lanka Siva Rama Prasad – an extraordinary man:<br />

an Indian poet, translator, publisher, editor,<br />

philanthropist and a respected doctor of cardiac<br />

surgery. This was a group of Polish poets: Alicja<br />

Kuberska (Inowrocław), Agnieszka Jarzębowska<br />

(Sieradz), Izabela Zubko with her husband Rafał<br />

and daughter Agnieszka (Warsaw), Ryszard Grajek<br />

(Czechowice-Dziedzice), Anna Czachorowska (Warsaw),<br />

Bożena Helena Nowak-Mazur (UK) and Renata Cygan<br />

(UK).<br />

I met Prasad in Poland, during the Slavic Poetry<br />

Festival in Czechowice-Dziedzice in 2018, where I had<br />

the role to be his personal translator (from the <strong>English</strong><br />

language of course). Prasad is an open man, very easy<br />

going, kind, and full of good, positive energy, so he<br />

quickly made friends with Polish poets. And during<br />

one nice evening (full of poetry, food, and liquors of<br />

all kinds) he decided to invite us to India. If anyone<br />

took this announcement seriously, it certainly wasn’t<br />

me. But Prasad had kept his promise. In September<br />

2019, very excited, we found ourselves (with the group<br />

mentioned above) at a poetry festival in the heart<br />

of Asia.<br />

Poetry festivals; what are they for? – someone<br />

would ask. For poets who for a moment want to feel<br />

appreciated? For organizers or city authorities who<br />

want to fulfill some missions, or just settle their political<br />

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responsibilities? Or maybe (warmer, warmer) – for<br />

ordinary people – lovers of words, random listeners,<br />

and most of all, for students – young people for<br />

whom meeting with live poets and their work is<br />

contact with another, maybe a bit strange and<br />

surprising, world? I assure you – at each such meeting<br />

there is at least one young mind that will “click” and<br />

listen with understanding and appreciation. And even<br />

for this only one soul, it is worth visiting these poetic<br />

festival places and sharing our poetry. In India, there<br />

were many such interesting young souls. You can see<br />

in them some unusual eagerness for knowledge, for<br />

learning, some hunger for exploring new paths.<br />

This is what struck me most at the festival in Guntur:<br />

selfless involvement of the students, willingness<br />

to help – incognito, without complaint, with<br />

a smile on the face, and great respect for the guest.<br />

For us – accustomed to western directness – it was<br />

even slightly embarrassing at times. Indian people<br />

are: polite, well behaved, they have respect for<br />

visitors, they are extremely hospitable and proud of<br />

their traditions. In such an atmosphere of mutual<br />

respect and curiosity, our group of Polish poets,<br />

for the first time in history, took part in the 12th<br />

International Poetry Festival – Guntur 2019, under the<br />

slogan: All For Peace, Peace For All.<br />

The hosts of the festivals in Guntur are two<br />

lecturers at JKC College – Nagasuseela Panchumarthi<br />

and Gopichand Paruchuri. With their hard work –<br />

their own and the young volunteers’ – they have<br />

achieved real success. During the 12 years of these<br />

events, several thousand (I am not exaggerating,<br />

I have checked this) poets, writers, publishers, artists,<br />

literature professors, and all sorts of enthusiasts<br />

of the written word passed through college<br />

buildings. Among them – our Polish representation.<br />

Numerically modest, but undoubtedly treated<br />

like VIPs. The organizers provided us with an<br />

accommodation, food, transport and tourist<br />

attractions.<br />

For the occasion of the festival, an Anthology<br />

The Vase was published, containing poems from<br />

around the world (in <strong>English</strong>), including ours.<br />

Someone will ask about the spoken language<br />

(quite important in case of poetry). Well, in this<br />

part of India, the native language is Telugu (spoken<br />

by over 80 million people!). Of course, there is also<br />

the national language – Hindi. But the festival was<br />

conducted in <strong>English</strong>, which they learn from early

Foreign Delegates - a bilboard on the College’s wall<br />

Guntur streets<br />

The Polish group in Salar Jung Museum<br />

Nagasuseela Panchumarthi, Renata Cygan and Gopichand Paruchuri<br />

B. Narsing Rao, Renata Cygan, the director<br />

of Salar Jung Museum and Dr. Lanka Siva<br />

Rama Prasad<br />

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Alicja Kuberska, Renata Cygan, Izabela Zubko i Bozena Helena Mazur-Nowak in Ramoji Film City<br />

1 0 6 <strong>POST</strong> <strong>SCRIPTUM</strong><br />

Ramoji Film City<br />

Dr. Lanka Siva Rama Prasad and B. Narsing Rao

childhood. Dr. Prasad made a very nice gesture for us,<br />

as at his own expense, he translated (from <strong>English</strong> to<br />

Telugu) and published our poetry books for the needs<br />

of the festival.<br />

The event was organized with great attention<br />

to detail, full of diverse flavours. After long speeches<br />

– there was time for traditional dance performed<br />

by young girls, after reciting poems – handing out<br />

prizes, certificates, honouring with traditional props:<br />

colourful scarves, turbans, statuettes, etc. After the<br />

awards – lighting candles and arranging them in a<br />

circle of fresh petals. Lots of magical moments and<br />

good, positive energy. It should be mentioned that all<br />

women (including students) dress in saris every day<br />

(known as cheera in Telugu). It is truly unbelievable<br />

that this traditional garment is still being worn, dating<br />

back at least 5000 years. What an extraordinary<br />

richness of colours and patterns! During these few<br />

days I have not seen two similar saris – each is unique,<br />

and the ladies look like tropical flowers in them.<br />

After the end of the festival in Guntur,<br />

we were transported to Hyderabad – the capital<br />

of Andhra Pradesh.<br />

Nagasuseela Panchumarthi, Ryszard Grajek and Gopichand Paruchuri<br />

In Hyderabad, we were joined by one of<br />

the most famous Tollywood directors (yes, yes.<br />

Bollywood – in Bombai, Tollywood – in Telangana),<br />

an extremely interesting, colourful man – B. Narsing<br />

Rao. He is a director, screenwriter, composer,<br />

producer, actor and painter, known for his films in<br />

Telugu. The list of awards and distinctions he has<br />

received is really impressive. And this extraordinary<br />

man, (privately – a friend of Prasad), took care of<br />

a group of Polish poets for the duration of the festival.<br />

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Ramoji Film City.<br />

Polish group singing Polish song on the stage<br />

Poetry is magic in itself,<br />

but poetry in India is like<br />

sinking into completely<br />

fairy-tale areas.<br />

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Ryszard Grajek w tradycyjnym stroju<br />

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Together with Prasad, they sponsored our entire stay<br />

in Hyderabad.<br />

It was with great pleasure that we visited the<br />

world’s largest (according to the Guinness Book of<br />

Records) film studios – Ramoji Film City. Covering over<br />

2,000 acres, it offers over 500 movie sets. Such an<br />

amazing place!<br />

The next day, information about festivals<br />

in Guntur and Hyderabad appeared in more than<br />

10 independent magazines. At the meeting in the<br />

prestigious Salar Jung Museum (which houses the<br />

largest and greatest collection of antiques in the<br />

country), the organizers of GIPF and Writers Corner<br />

honored festival guests with special diplomas – the<br />

International Life Time Achievement Award. At this<br />

meeting, there were about 20 photojournalists and at<br />

least 5 television stations for which we gave interviews.<br />

It is impossible to describe all the attractions<br />

and mention all the cordial meetings in which we<br />

had the opportunity to participate. But one thing<br />

I particularly remember – a meeting at the Vijayawada<br />

& Armaravati Cultural Centre at the invitation of<br />

President Padmai Iyengar-Paddy, a poet and a writer.<br />

After the official presentations, we were met with a<br />

surprise in the form of a song to the poem by Wisława<br />

Szymborska (famous Polish poet and a Nobel prize<br />

winner), The Three Strangest Words. The artist sang it in<br />

a traditional style, to a very exotic music, completely in<br />

Polish language! What an effort! It was a really touching<br />

experience. There were many more such flavours.<br />

For example, reading poems in the atmospheric Fort<br />

Golconda – pure magic! Our entire stay in India was<br />

beautiful, colourful, and unique. It was like traveling<br />

back in time, sinking into the extraordinary culture<br />

– it was a richness of flavours, smells, and unusual<br />

spiritual experiences. Extraordinary people, interesting<br />

conversations, unexpected friendships. Poetry is<br />

magic in itself, but poetry in India is like sinking into<br />

completely fairy-tale areas. [RC]<br />

How can you not<br />

love festivals?<br />

How can you not<br />

love POETRY?<br />

Photos:<br />

Rafal Jarnicki, Agnieszka Jarzębowska, Renata Cygan,<br />

Renata Cygan and Nagasuseela Panchumarthi,<br />

official website of the GIPF Poerty Festival<br />

109<br />

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110 <strong>POST</strong> <strong>SCRIPTUM</strong>




Krzysztof Sylwester Łozowski was born<br />

in 1970 in Sosnowiec. After graduation from the<br />

Secondary School of Visual Arts in Katowice he<br />

went to study film animation at the Post-secondary<br />

Artistic Studio in Bielsko-Biała. He also earned a<br />

degree in Graphic Arts from the Teachers College in<br />

Katowice. In 1993 he enrolled in the painting and<br />

drawing programme offered by the Department<br />

of Arts at the Art Institute of the University of<br />

Katowice, from which he graduated in 1998. As an<br />

artist, he employs a variety of techniques, including<br />

oil and acrylic painting, drawing, painting on old<br />

wood, watercolour (experiments with handmade<br />

paper from across the world), doll design, his own<br />

artistic techniques, photography and graphic design.<br />

He has created a number of painting series, such as<br />

The Town of Łozowsko Wielkie, Poppy Ladies, Pick<br />

Your Tree, Fairy Tales for Adults, The Wooden World<br />

and Water. His works have been shown as part of<br />

individual and collective exhibitions in Poland and<br />

abroad. They can be found in private collections<br />

across the world.<br />

Art Gallery<br />

www.lozowski.art.pl<br />

lozowski.krzysztof@gmail.com<br />

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112 <strong>POST</strong> <strong>SCRIPTUM</strong>

“The water of Łozowsko is alive – so much that it seems to<br />

be breathing when whisked by a tender brush. It pours itself<br />

onto the canvas with a gentle cascade of colours shimmering<br />

with seasons, times of the day and moods of the moment. It<br />

becomes green and silver, gold and crimson red. Magnetic,<br />

promising and mysterious; it is just water that desires to be<br />

nothing else. You may immerse in it, fish out a dream and<br />

touch the unknown. You may lose yourself in its rippling or<br />

follow the plume of the moon’s shadow to suddenly disperse<br />

in its glitter. The water of Łozowsko knows no bounds when<br />

it murmurs with tranquillity. It is primeval. Flowing from the<br />

source of the Artist’s imagination, it stimulates your own<br />

creativity. Do not close your eyes. Look into its depths, let<br />

yourself be carried away by them. Can you feel it? It is alive…”<br />

Grażyna Orlińska<br />


Houses can be people.<br />

Flowers wearing hats can<br />

speak and laugh.<br />

Clowns have too big shoes.<br />

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WATER<br />

How did it happen that you had become an artist – a<br />

painter?<br />

When I was a child, I was watching my brother paint and<br />

draw. Janusz, who is 12 years older than me, is a painter.<br />

I enjoyed very much squeezing oil paints from tubes and<br />

the process of creating something on a white canvas.<br />

There was nothing and, suddenly, there is something.<br />

I filled in everything possible with doodles: cards,<br />

copybook covers, tables, and walls. I remember I made<br />

corrections in the paintings on the walls using my<br />

crayons. One day I caused a great scandal – I irreversibly<br />

destroyed some religious pictures when I decided to add<br />

some dynamics to them and drew fire flames around the<br />

figures.<br />

As I remember, I always doodled impulsively, almost<br />

destroyed and threw away what I had drawn. At the same<br />

time, I was singing and shouting. It was a little painting<br />

theatre of a child. When I wanted to draw a simple tower,<br />

and it would always lean to one side, so as a punishment I<br />

drew it upside down.<br />

My brother, who noticed my interest, gave me blank<br />

sheets of paper and assigned topics to draw. He would<br />

also find competitions. One picture from that period has<br />

been preserved until today – maybe it is the first work<br />

in the series The Town of Łozowsko Wielkie. When my<br />

brother was not around, I would be looking at all painting<br />

albums he had and going through books devoted to art<br />

history. I would set up easels, the palette and turn into a<br />

painter, just like him. And this has remained with me until<br />

today.<br />

In the world that I created for myself at that time I<br />

could build a variety of houses, cities, talking animals<br />

and story-telling birds. I could play there as much as I<br />

wanted. The reality around me then was very difficult<br />

for a child and the world of painting enabled me to<br />

escape it and find myself a safe haven.<br />

Who are the residents of Łozowsko Wielkie?<br />

Łozowsko Wielkie is the world of fantasy, unfulfilled<br />

dreams, joy and sadness. Everything happens here.<br />

It was born during a sad and difficult period of my<br />

childhood. There are no rules here, anything is<br />

possible. Houses can be people, flowers wearing hats<br />

can speak and laugh, clowns have too big shoes and<br />

noses. Thoughts intermix, clouds can sing, and people<br />

can walk on clouds. Different voices inhabit the walls<br />

of mysterious townhouses and look at us through<br />

hundreds of windows left ajar. Maybe they are assessing<br />

us, maybe they would like to give us some advice.<br />

They are waiting, observing and gazing at us. Windows<br />

are waiting for someone who will come, pass by, stop<br />

and cast a furtive glance. Someone who will have the<br />

courage to enter a house from the Town of Łozowsko<br />

Wielkie. Freaky birds will welcome them with speech<br />

that has never been heard, a cat will give them a bored<br />

look and turn away ostentatiously. Someone is doing his<br />

laundry, someone is looking for butterflies, someone is<br />

observing everything from afar. Maybe the town is us<br />

as we may see ourselves there, our joy, happiness, lies,<br />

scheming, and vanity or, maybe, the town only pretends<br />

to be a land of joy.<br />

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My style is above<br />

all expressions.<br />

According to critics your art is expressive. How would<br />

you define your style?<br />

My style is above all expressions. Great dynamics of<br />

the movements of a brush, spatula, pencil, splashing<br />

and rubbing. Everything is possible: every tool, fruit,<br />

vegetable may be a paint or pencil. Every surface is<br />

good to create a painting. Destroying a cardboard<br />

while painting is nothing wrong. The cardboard did not<br />

collaborate as required and it needs to be convinced or<br />

bribed. Sometimes there is what I call ‘snoozing’: small<br />

and precise touches of a brush, which are also needed.<br />

But when there is no need, I try to avoid them. I wake up<br />

and quickly, without too much thinking for hours about,<br />

e.g. what colour to use, I start painting.<br />

I am in charge of the canvass, not vice versa. At the same<br />

time, it is important for me to find colour harmony, so<br />

that each colour that appears in a picture is coherent<br />

with others. They need to create an entirety. The series<br />

Water, which I am currently working on, offers this kind<br />

of opportunities for me – endless water, painted in a<br />

sweeping manner using various kinds of spatulas.<br />

‘The hell of an artist is an eternal search for oneself’ –<br />

to what extent does this quote apply to you?<br />

This is a very important and true quote. I have been<br />

looking for myself all my life. As I have already said, it all<br />

started in my childhood. A little human being who was<br />

lost was trying to find shelter, a safe place for himself.<br />

And this is how he started to build his world with many<br />

questions. Why is it so that they are the way they are?<br />

Why am I here? What will happen tomorrow? Will there<br />

be a tomorrow? Constant uncertainty, fear and anxiety.<br />

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On the one hand, the process of creation keeps pushing<br />

you towards new solutions, new answers and themes. You<br />

create many series of pictures, but they may all become<br />

grey in one moment. Something has been pushing me to<br />

continue to search, think, never give up and keep picking<br />

myself up. This is a never-ending story.<br />

You have told me that there is a lot of your true self in<br />

your drawings. Your drawings are gloomy and grim. I<br />

can see scarecrows, malicious faces, prying eyes and<br />

black trees with clawed hands in them. I can see anxiety<br />

and inadaptability. Do I understand it well? What do<br />

you think about my interpretation?<br />

Drawings are extremely important. I have created them<br />

throughout my entire life since childhood. There was<br />

a time when I stopped painting for a long time, but I<br />

still created drawings. It happens without any special<br />

attention on my part, just like drinking tea or coffee. It<br />

comes by itself. Drawings are the best reflection of my<br />

moods and all states of mind. They are real: the line gets<br />

crazy on paper creating, crossing out, ripping things apart<br />

and often shouting. Usually, various heads, which I call<br />

types, appear. These elongated faces with large noses<br />

wear hats, are wrapped up with big collars and have big<br />

hands. These might be scarecrows of my childhood or<br />

adult life, I do not know, but they have been with me all<br />

the time. They come out of my head. These are often<br />

horrible dreams or grim thoughts. Self-portraits, the<br />

series The Once Was a Tree both surprise and rejoice, cry<br />

and ask questions.<br />

You are a magician, you paint with passion, you have<br />

curiosity for the world and the freshness of a child’s<br />

glance. There is still a lot of a little boy in you, isn’t<br />

there?<br />

As I have already said, I have been a little boy all the<br />

time. Now, I do realise that I do not quite want to grow<br />

up and become a serious gentleman. A child’s view of<br />

the world is something wonderful, it gives rise to so<br />

many interesting questions. Answers to them may be<br />

very surprising and almost unimaginable, both in art<br />

and all other disciplines. I would encourage everyone to<br />

become a bit of a child, to relax and allow oneself a little<br />

madness, to bend oneself both left and right, sometimes<br />

shout unexpectedly and sing incompetently. In this way,<br />

two opposing ideas may clash and become a beginning<br />

of something new and wonderful. Let us be children<br />

insomuch as it is possible.<br />

In one of your interviews you said: ‘I create regardless<br />

of days or hours’ – could you expand this thought?<br />

I may become completely lost in creation. Days and<br />

hours cease to exist, and everything is subordinated<br />

to my creative work. This state of mind can absorb<br />

me completely. Life, in a way, becomes transferred to<br />

the picture, where the everyday life is. This is where<br />

discussions and arguments are transferred, too.<br />

It may seem mad, but this is what the creative process<br />

looks like.<br />

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Harmony arises at the most unexpected moment.<br />

You create drawings, caricatures, watercolours, acrylic<br />

and oil paintings on wood and canvas using a brush or<br />

spatula. Do you have a favourite technique?<br />

All the time I have been looking for new techniques, new<br />

forms of expression. I like challenges very much. I like to<br />

learn and acquire new skills step by step. They allow me<br />

to freely explore new themes in my new series later on.<br />

Currently, I have been working using a spatula. I paint<br />

quickly and spontaneously. Looking for harmony, which<br />

has always been in my focus, is like constructing with<br />

building blocks. Spatulas offer an opportunity to build<br />

structures using such ‘blocks’. And, obviously, I have<br />

never parted with pencils. I carry them around in every<br />

pocket. You never know when a drawing is going to attack<br />

me.<br />

For quite a while now I have been following your<br />

artistic activity. I can hear music and see theatre in<br />

your pictures. How much planning and how much<br />

improvisation is there in your art? Do you have a story<br />

already prepared when you sit down in front of a blank<br />

canvas?<br />

As you have aptly phrased it, ‘pure improvisation’,<br />

madness, variations and trials dominate my art. I do<br />

not sketch before painting – I use paints from the very<br />

start. I am not afraid of a white canvas. Only then can<br />

the most surprising, completely unpredictable, or almost<br />

impossible, effects be achieved. Harmony arises at the<br />

most unexpected moment. Before painting I try to calm<br />

my mind down or remove the surrounding reality away<br />

from me in a way. The time needs to be right, so that<br />

the ideas stuck in my head may come to life on paper or<br />

canvas and I am not a barrier to it. I would rather wait for<br />

the right moment than accelerate it.<br />

For example, I have been waiting for the series of<br />

drawings devoted to childhood. Let me just add that each<br />

picture ‘provokes’ the next one. I think that inside my<br />

head there are enough ideas for a few human lives.<br />

Who is Krzysztof Łozowski’s favourite artist?<br />

My favourite artists have been changing over the years.<br />

I have always been attracted to Bosch and Bruegel, their<br />

vision of the world and the way they revealed human<br />

fears, weaknesses and defects. When I look at albums or<br />

visit museums, I pay attention to the colour or rather the<br />

combination of colours. And here, I would like to offer my<br />

compliments to Claude Monet.<br />

What is art for you?<br />

Art is my way of life. It means to sustain despite fear and<br />

evil that have always accompanied us. Art is a smile and<br />

joy. It is the sense of fulfilment. It is also the expectation<br />

of tomorrow, in particular the morning. I often get up very<br />

early and I start to paint immediately. This is when I can<br />

enjoy peace and quiet. Pictures are created, they start<br />

talking and – at such an early hour – they can be heard.<br />

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A rt is my way of life.<br />

Art is a smile and joy.<br />

118 <strong>POST</strong> <strong>SCRIPTUM</strong>

first paintings from childhood<br />

Where do you like to paint the most?<br />

I have painted everywhere, most often at my studio at the<br />

moment. If I can, I go to the meadow or the forest. This is<br />

where I create, among birds and ants.<br />

You are a very prolific artist. Do you know how many<br />

pictures you have painted? Do you have any register?<br />

Quite a few, I think, but I do not know the exact number<br />

of the pictures I have painted. As I have said, there are<br />

even more of them in my head, they are the pictures still<br />

to be created.<br />

How long does it take you to create one picture?<br />

My recent pictures have been painted really fast. I think<br />

that the fewer corrections, the better. Sometimes I may<br />

get angry with the canvas and change something before I<br />

finally go back to my initial concept. Sometimes a picture,<br />

in order to be created, needs one hour and at other times<br />

it is an entire day.<br />

I do not like corrections. I prefer to start something<br />

from afresh. There is always a possibility that this time<br />

something new and unexpected will appear and I will be<br />

surprised by the picture.<br />

I wish you many of such moments of surprise. [RC]<br />

Translated by Dagmara Wolska<br />

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