I was born in 1971 in Lodz, Poland.
In the years 1992-1997 I studied at the Strzeminski Academy of Fine Arts in Lodz and graduated from Professor Andrzej Kabala's studio of gravure printing.
After graduation, I started as a photographer and a mixed media artist.
In the years 1996-2002 I took part in numerous exhibitions, including:
"Marcowe gody 3 / March Mating 3“, International Artists Museum, Lodz (1996);
“Slawomir Kubala?!” Gallery FF, Lodz (1996),( http://galeriaff.eu/0kubal_a.htm );
“Pola indywidualności” I Biennale Polskiej fotografii, galeria Arsenał, Poznań (1998)
“Separation” Mała Gallery ZPAF-CSW, Warsaw, Poland (1999), ( http://fototapeta.art.pl/fti-skmge.html );
"goEurope, the kaleidoscopic eye”, Braunschweig's Museum for Photography,
Germany (2001);
“Around The Decade. Polish Photography of the 1990’s”, Museum of Art in Lodz,
FF Gallery, National Museum in Wroclaw (2002).
Scholarships and awards:
Fisr Prize in the 22nd Photographic Confrontations competition in Gorzow Wielkopolski (1997);
Scholarship from the Tadeusz Kulisiewicz Grants and Awards Foundation in Warsaw (1997);
Semi-Annual Creative Scholarship from the Ministry of Culture and National Heritage (1999);
State Scholarship in Kunsthogskolen in Bergen, Norway (2000-2001).
From 2001 onwards I have grown less and less satisfied with the results of my work. I avoided exhibiting my works and in my creative activity I kept moving away from photography, at first by turning to pinhole photography, then to short video forms. The wide spread of digital techniques (to which I also succumbed) made me increasingly troubled by the fact that artworks were lacking a physical vestige.
From 2002 to 2009 I made a living mainly as an advertising photographer. Eventually, in 2010, I gave up photography (as well as previous ideas to express myself through this medium) and I started working as a film colorist. In private, I was drawing obsessively.
In July 2010 my first son was born.
In 2013 I came to the conclusion that my only salvation in Art is Painting. I needed the physical matter, and I needed a form in which I could contain time. I also needed that form to be imperishable, because in the past I consciously did not let my photographs stay in fixing baths until the prescribed end – I left the process open so that the recorded images would disappear over time.
In 2013 I began working on a painting series the initial intention of which was to present my relationship with my son: a kind of an inward-directed interpretation of fatherhood. Over time, however, the images came to be about the relationship with the body, the viscera, the fragility of our bodies. For my own use I call these paintings an organic abstraction.
I would like to show some of them in Venice.
