REZONATOR I - IV. Space, Gesture, and Resonance. On the Art of Przemko Stachowski. In the work of Przemko Stachowski, the cycle REZONATOR occupies a unique position - as a project that transcends the boundaries of painting and becomes a performative laboratory of energy, light, and co-presence. From its first iteration in 2016, through subsequent versions developed in natural, urban, and industrial environments, REZONATOR has grown into one of the artist’s most distinctive and interdisciplinary statements. It was REZONATOR IV, presented in 2025 in the Art Nouveau Scheibler Power Plant in Łódź, that was distinguished and published in the catalogue of the prestigious International Prize Artist in the History of Art, which Stachowski received at Palazzo Borghese in Florence in 2026. REZONATOR as Process - Painting in Action REZONATOR is not merely a cycle of paintings but a creative situation in which painting is put to the test: confronted with space, movement, sound, and the presence of other participants. In successive iterations of the project, Stachowski collaborated with movement theatre, choreographers, and musicians, creating an environment in which the painterly gesture becomes part of a larger, multilayered performative composition. In REZONATOR, painting is not a closed activity - it is an action, a record of energy flowing between the artist, the space, and the participants. The monumental canvases, fabrics, or installations created during the performance are only one of the outcomes of the process. Equally important are time, movement, light, and the emotional resonance the project generates. REZONATOR I – IV. The Evolution of an Idea REZONATOR I (2016) - the first iteration, created in the studio, was an attempt to capture the energy of gesture in controlled, almost laboratory-like conditions. REZONATOR II (2016) - the project moved into public space and was co-created with movement theatre actors; painting becomes part of choreography, and choreography becomes part of the painting. REZONATOR III (2017) - an outdoor realization in which nature - forest, water, light - becomes an equal partner in the creative process; monumental formats and work on fabric emphasize the physicality of gesture. REZONATOR IV (2025) - the culmination of previous explorations, created in the historic Scheibler Power Plant in Łódź; the project merges painting, light, architecture, and performance, forming a space charged with symbolic and emotional intensity. This iteration was the one recognized by the international jury in Florence. All parts of the cycle are united by the idea of resonance - the flow of energy between medium, space, and human presence. REZONATOR is therefore not only an artistic project but also a metaphor for the relationships we form with the world around us. Lyrical Colorism — The Foundation of Stachowski’s Language. Although REZONATOR is the artist’s most spectacular project, its roots lie in his original concept of Lyrical Colorism. This is a painterly language Stachowski has developed since the 1990s, based on the conviction that the world is in constant transformation, even when viewed from the same place. Color - autonomous, emotional, liberated from descriptive function - becomes a carrier of mood, energy, and inner light.Lyrical Colorism is an art of subjective seeing, in which landscape is transformed into the idea of landscape, and gesture becomes a record of emotion. This philosophy of looking and experiencing the world forms the foundation from which REZONATOR emerges - a project in which color and gesture are transferred into a performative dimension. Cycles and Painterly Themes — A Polyphony of Sensitivity. Stachowski’s work encompasses numerous extensive cycles, including: INSCRIPTIONS, Abstracted Landscape, Linea, Rhapsodies, Polyphonies, Fosforos, Counterpoints — each developing a different facet of Lyrical Colorism: from light and structure, through rhythm and gesture, to the abstract synthesis of landscape. Together they form a polyphony that consistently builds the artist’s coherent and recognizable visual language. Awards and Distinctions. In addition to the recognition of REZONATOR IV in Florence, Stachowski’s work has been honored in other contexts as well. British Publishing House included his biography and a reproduction of his painting in the exclusive, limited edition of the Encyclopedia of Polish Personalities - Britishpedia, highlighting the significance of his contribution to contemporary visual culture. The artist is also a recipient of other awards and distinctions for his painting and interdisciplinary projects. Conclusion. REZONATOR I - IV is one of the most important projects in contemporary Polish art - a cycle that merges painting, performance, space, and light into an experience of exceptional intensity. Embedded within the broader context of Lyrical Colorism and the multifaceted work of Przemko Stachowski, the project reveals an artist who is consistent, courageous, and open to dialogue between medium and world.
***
The RESONATOR project is an attempt to confront an artist with a situation in which he finds himself or arranged himself, for example, in a studio, in a city park with the help of actors of the theater of movement or in the third edition of this project in the scenery of forests and lakes.
Resonator II was completed on September 11, 2016 in cooperation with the House
of Culture in Sochaczew (Poland). It was an action painting combined with a
spectacle in the youth theater in the Sochaczew urban area. During the dynamic
choreography, the image was created live. The picture was a resonance generated
by the activities of the theater group. As a result of 20 minutes of action a picture was
created measuring 8m x 2m.
My image is Description.
Each picture is created in a different context. It is a description of the state.
A constantly changing, dynamic situation in which I try to find myself with the awareness that the status quo does not exist.
I am invariably interested in the fluctuation of matter, its non-obvious status is often a resultant in relation to the surrounding context, which, however, is the subject of
to the same rights.
The peculiar truth of light and color, indeterminacy, relativism and the mystery of our perception are just some of the concepts that constantly drive my activity and imagination to actions. The last word will never be spoken. This is not the point. This is happening. This is a process creating. Description for here and now. This is a mystery for which a metaphor is needed.
That's why I paint. Others write or compose. [...] about love and constant enchantment with our fragile condition. Eros and Thanatos. Let it happen.
My painting is a continuation of the "story" that has been going on for many years
years. I started a series of diplomas entitled "I'm Coming Out of Black as Out of Egypt" (1994). The next series were INSCRIPTIONS (1995-2015), RECORDS (2003-2006); THE VIEW OF THE GARDENS (2005-2009); PHOSPHOROS (2016); RESONATOR I-III (2016-2017); ABSTRACTED LANDSCAPES (2017); LINEA (2020-); RAPSODIES (2021-)
Since I have been painting and searching consciously, I am convinced that I am a continuator of many predecessors in the field of painting search. I am not thinking of continuing styles, but rather of applying many of my predecessors' discoveries to create from
the distance of one's fingerprint - one's own fingerprints in the area of one's travels around the world, getting to know oneself, discovering one's own identity, but also in the matter and form of painting. To say that many have already been here does not discourage me from being active, quite the contrary. Then I answer: but I have never been here, so I will leave a trace. My own print. My fingerprint.
A trace of an artistic search for my identity.
Watch the recording:
https://www.youtube.com/watch?v=QpOitNkAAv4
