POST SCRIPTUM English__ Feb 2021

the artist paints in layers in such a way
that underneath colour surfaces come out
and mix with new layers.
of a blend in which I try to be my real self. I call it
“orapism” and to my surprise the style has been
named and recognized as a new abstract genre.
Exactly – Margerita Blonska-Ciardi, a noted art critic
writes:
“With spontaneous movements of the brush
and spatula, the Polish artist wrinkles, rasps
and scrapes the surface of the canvas. Driven
by emotional chaos, he adds layers of colours
on the previously painted figures (…).
He transfers his fresh and natural gesture. (…)
he takes out our feelings, catches them in his
colourful web of different patterns.”
Krzysztof not only there has been a breakthrough in
your private life, but also in artistic genres.
“Ora-pista” is a Portuguese word for “to track now”.
There must be something to it. “Action-reaction,
author-receiver, subliminal message, mirror
reflection”. It took me fifty years to gather enough
experience, and then suddenly my ability to transfer
emotions from myself to the canvas suddenly
blasted off. It became the sense of my life. I have
never followed any other painter, maybe except for
Malczewski. It was later, when I confronted painting
and created my works, that the critics saw more in
them. They gave them the name, and they found
me within them. I have never studied art, I wanted
a fresh start; It’s like with sex: you can read lots of
literature about sex, but there is no satisfaction from
just reading! The experience only matters if you try
it! I think that if I had filled myself with art books,
with these techniques and rules, like so many people
told me to, my orapism would have never happened.
This simple comparison to sex: “Work on your
technique” … but how? It is primal, you either feel it
or you don’t.
Krzysztof, experts in the art field have called you a
modern expressionist.
“Yellow, orange, red – they often contrast greens
and the tones of blue, just like in the expressionist
paintings of Van Gogh and fauvist ones of Paul
Gauguin. Some of his works are layer-painted to
create colourful surfaces which emerge from the
depths and at the end mix with next levels. It gives
a dialogue effect between contrasting colour
elements and encourages the viewer to reflect
deeply on the works. These pieces lead to extracting
one’s own atavistic emotions, hidden in the nooks
and crannies of your subconsciousness.”
– Ciardi says.
So, when you scratch and trace, what do you find?
Is it the painful scratching off the next layers? Is it
a search for something bigger, or maybe it is contrary,
an unveiling? How do your paintings come to life?
At the beginning I painted several dozen paintings
in a short period, I took speed to the point where
I thought: “you are tiring your audience”. Then I
started to approach a painting differently, sometimes
it turned out that the original sketch did not survive
till the end. I scolded myself – no one was nagging
me, no one was forcing me to do anything. I had
to stop thinking. At first, I painted with brushes,
unfortunately the paint was drying out too quickly,
and I still needed to add more and more layers. Then
there came time for the spatula, and it became “my”
tool – the media was not drying out on canvas and
this allowed me to work more flexibly, to mix the
colours directly on the base. Often the final work
only merely resembled my original sketch. One time,
after I travelled through India, I wanted to paint
a Hindi man, which resulted in a vision of Indian
colours of the crowded street, without any concrete
figure. This example shows the lack of attachment
to the original idea.
Before becoming a painter, I tried writing, creating
stories. I have done 70 pages and… got stuck. I knew
that if I decided to continue writing I would have
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