He forms various organic and inorganic structures, similar to a microscope magnified picture, laboratory sections and microphotographs. The paintings recall, frequently against the author's intentions, the worlds seemingly familiar. There are the 'depths' of abstract space filled by quasi-organic creatures looking like Actinaria and starfish or coral reefs, colonies of cloudy plasmatic clusters. Confronted with stagnant and lifeless surface the forms distress with potential threat and mysterious vitality. Many of them swell with fertility and reproductive power, others make an impression to be only relicts of living matter.

The organic forms often exist in the background of austere and pure architectural constructions, similar to fantastic sceneries with rocky and ice crage, steep mountain slopes and deep precipices. Some rubbled forms, or actually their relicts exist like hard and damaged victims of past disasters or just premonitory, unknown catastrophes.

The world of the paintings is strange, even though the familiar one. It appears to be distressing, faulty, cracked, immemorial one, and on the other hand, dangerous in its strength and persistence.

Light is also a fundamental factor. It is a starting point, means and an ultimate aim. The phenomenon which often lies in a hidden source of radiation. Some objects shine mysteriously, obtaining nearly metaphysical dimension. Most of them rise higher and higher, in the search of vital brilliance. Light, more often focused than dispersed, does not 'fight' against shadow but it makes a dialogue with it. A bright beam of radiation disperses the darkness halfway only but, cutting the space, takes part in 'dynamizing' the composition

Dariusz Leśnikowski