CONCEPTION

As far as vegetable-rubbish-visceral representations are con- cerned, as well as Unidentified Food Products, he is extraordinarily skilled, like once Till Nowak, because Salad was a painting merely printed on canvas, though it has to be said that it was notable in the current using the so-called Arcimboldo effect (the title of a work by many authors, published in 1987, when the two artists in question were two and seven years old, respectively).
One could describe this art as a kind of itinerary – starting out from copying, he uses, regardless of what one might think, not just anything he gets his hands on, buta carefully selected repertoire of existing culture. He had to construct his starting place, his pointof departure, and his choice was the autonomy of complicated structures, later complemented with the formal rigour of mannerist painting – his creation is inseparable from re-creation.
Therefore there may exist parallels between mannerism and postmodernism. The renaissance technique, which brought such fructuous results, has been revealed here in all its glory, but today it serves a different type of imagination. Subjective-objective, and at the same time of micro- and macrocosmic harmony,fulfilled in the idea of a universal dialogue, displaced these days by conflict. This is not merely a histori- cal stage in the development of painting – the New Hyperrealism – purposefully using a medium disre- garded by orthodox modernists. Almost perversely– as a figure archaic on the one hand, and on the other hand a means of evoking our hyperreal world, in which objects and their representations are often mixed up. The quiet affectation of postmodernism has been reinforced with pathos. This intensity is symptomatic for cultural “schizophrenia,” which we experience especially in the breaking of our sense of time – the present fascinates us, but is experienced in a sense of loss, of unreality. This makes it impos- sible to imagine an “unreal” present, because the world around us is partially virtual. This representa- tion is based on the principle of equivalence between the sign and reality because in a simulated world, the sign precedes reality. This is when a longing appears for a true representation, as well as a longing for realist art in a “schizo” subjective world. At the same time, the artist reveals an important truth aboutour culture, showing it to be ruled by falsehood, and nostalgia to be a phantasmagoria, an ironic reha- bilitation after one has lost all points of reference. Objects consist of rejected elements, not needed anywhere else – parts of toys, scraps of various materials, formed plastic, allusions to fetishes, such as horns, souvenirs, but, despite similarities to works of the current known as Junkyard Sculpture, Zawicki the painter adds colour to them, sometimes an almost psychedelic day-glo and shine of the surface. He follows the path of masters who created “objects difficult to accept” – Giacometti and Bourgeois.
Not satisfied with any form of determinism, but aware of our susceptibility to the working of art – especially art of which we are not fully conscious– he distinguishes metaphor, which he considers to be a simple corre- lation between the author’s intention and what he understands to be the phenomenological existence of images, beings suspended in the space between the artist aware of his goals from the critical intel- ligence of the viewers. Bright colours covering the tangled forms emphasise this artistic free-for-all and the artist’s unconventional sense of humour. Paintings like exhibits from an non-existent Museum of Natural History, in which the world of dinosaursis mixed with the world of Old Masters, creatinga surrealist climate. What may seem frivolous oreven arrogant at first glance, at closer inspection proves to be the work of passion and diligence, at points interspersed with elements of humour. This is humour not in the sense of a simple joke, but the ability to reveal hidden similarities. Painting making references to art and life at the same time. Some of the elements used are easily recognisable – they may be the limbs of a dinosaur from the children’s room, or an old salt cellar. But the way they are juxtaposed in least expected ways give us a thrill that is only experienced in contact with something truly surreal. Elements invoking fragments of underwater reefs echo plant shapes. Combinations of mechanical and organic elements, competing with each other, may make us reflect on the violation of nature, and the crowding together of the forms illustrates the con- flict between the creative and destructive force.