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Professionally trained in architecture drawing and design, I study painting in the workshops of Jean-Claude Fontana and Christine Daviet Gilbert in Lyon, France. I experiment at the time with different styles and subjects (still life, nude, urban landscape) and medium – watercolour, acrylic, oil – the latter being very quickly my medium of choice for its texture, glazing and colour qualities.

With time, my style becomes less figurative. I slowly eradicate the rules of perspective and forget the drawing in order to better focus on colours and create abstract pieces. My romantic and dreamy style, like Chagall’s, reminds my slavic roots. Lyrical abstraction and Jackson Pollock’s dripped painting, inspire me. Tachisme, gestural painting, Kandinsky’s biomorphism, are also great sources of inspiration and techniques that I use in my paintings. I expect and value the unexpected in the creative process. Christine Daviet Gilbert, an artist and gallery owner, says about my work: “Jacek’s lively and rich colours are a feast to the eye.”

This leads to several thematic series and variations (Geometric Variations I – XI, 2000-2005) exhibited in France and Belgium. Music often brings me to spheroidal rhythms and definitely influence my creative process: it guides my knives and brushes on the canvas to reveal geometrical abstract figures in my compositions. My colours are as diverse and expressive as music notes.

Constantly evolving and looking for new ways of expression, I reintroduce some figurative elements in my latest compositions. My work is now more embedded in reality and focuses on urban issues and individual relationships in the city. Technically, oil painting is complemented by digital technologies in order to add figurative elements in the series (digital photography and collages, vector graphics).

My paintings are a mix and layering of realistic elements (collages of digital images) and abstract painting. By adding painted circular patterns of various diameters and colours, my characters become anonymous individuals, without personality. The cities I paint are dehumanized. The digital collages and crops also create broken, confused and messy relationships. The on-purpose, poor-quality and banal images of the city refer to the real; the abstraction and bright colours open up to imagination and hope…

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