My active interest in Fine Art commenced in 2006 and is deeply rooted in my personal-multicultural and professional-academic background.
In our digital, global culture the old order has been disintegrating faster than ever and the new one has not yet fully emerged. I paint in oil what I observe is happening all around me. Up to now, the images that captured my imagination have been set in a space where different realities transform into one another. Of paramount importance have been borderlines between the abstract and the real, the old and the new, the personal and the public, the ugly and the beautiful, the moral and the amoral or the immoral.
On canvas the multivalent images, where multiple dimensions of reality meet, emerge slowly and at times erratically. With each modification paintings acquire a new identity and the multiple dimensions of reality therein are not always instantly recoverable. None of my completed works is ever “finished”: I am constantly fascinated in how the continuity of the working process highlights or reminds me of those all pervading qualities and insights found in vision and life itself.
I strongly believe in the Renaissance principle of the Engaged Spectator. To that effect I have adopted a questioning perspective. Those that look at my art often find themselves participating in the scenes that confront them and feel called upon to search for answers in their own hearts. Some have detected in my works subtle traces of Polish Romanticisms.
I often incorporate a selective, relevant, symbolic voice of the old masters who have inspired me.
Caravaggio whose work, in the words of Simon Schama, cries out ‘Truth” about all else
Turner and Rothko’s atmospheric use of colour
Goya painting for posterity
David’s skill, pointed out by Tom Gretton, to give true power to his work not by what he allows us see in it but by what he choses to exclude
Giorgione’s stormy landscape surrounding social outcasts
Bruegel’s biblical allegories
Chagall and his dream-like world
Leonardo’s emotive group narratives and his ability to encrypt himself in the picture
Ensor’s love of masks
Pacheco’s modernised religious tales
Some of my earlier works are reminiscent of the Commedia Dell’Arte or church murals such as the Doom: Heaven and Hell in South Leigh and The Virgin and
Child in South Newington, Oxfordshire.
Unlike all my renowned predecessors, I often “dress up” contemporary situations in the “garments” of the past. To me the language of Art has a continuity that is timeless.
Visual art, unlike sequentially processed texts, has a more immediate impact on the spectator and is licensed to address situations in their extreme. During the last five years I created, by invitation, a collection of paintings in support of the Oxford University projects to further reinforce the need for an in-depth understanding of the ethical issues and dilemmas that permeate technological innovation and everyday use of social media.
My present passion is Universal Love. I am currently working on images, including portraiture, that convey the genuine sense of tender, caring, love all human beings possess. This collection of paintings is intended to
- act as a counterweight to the images of humanity, portrayed daily in our media, of a world mostly made up of carnage and destruction
- invite each spectator to reflect on our common humanity
- evoke in the spectator a desire to strive, as an individual, to uphold humanity’s dignity by extending their love, hope and compassion to all human beings on Earth with no exception.
“The Act of Seeing: Realities in the Making”, a Collaborative Art Event by the Oxford Triptych at the Academic Centre for Artistic Initiatives, AOIA, Poland; live show 27th – 29th September; retrospective 30.09.2016
Multi Verse, Digital Wilfire: respond now at the Digital Catapult! Showcase workshop, Digital Catapult, London, January 12th 2016.
Multiverse, FRRIICT Final Showcase Event, Science Museum, London, 19 June 2014.
Moral Playground, Said Business School, Oxford, April 2012.
Borderlines, Jam Factory, Oxford, July 2007.
Wadham room, The Kings Arms pub, Oxford, 21st April 2016
ICT2013, European Commission Conference, Vilnius, 2013
Oxford Art Society Member Exhibition: 2012
Oxford Art Society Open Exhibitions: 2006, 2007, 2008, 2009
‘A Gesture to Red Store’, Lerryn, Cornwall, 2008
Museum of Modern Art Oxford open exhibition, 2008
‘Shadows and Silhouettes’, Oxford Arts Festival, 2007
‘Art Trail’, Ulverston, Cumbria, September 2007
‘Shadow World’, Interactive Painting Installation, Oxford-Brookes, 2007
|2014 – Present||External Artist in Residence, Digital Wildfire projects, Oxford University|
|2011 – 2014||Artist in Residence, FRRIICT, Oxford University|
|2017 – Present||Full Member of the Royal Society of Arts and Commerce (RSA)|
|2009 – Present||Member of the Oxford Art Society (by invitation)|
|2007||Diploma in Art and Design from the Oxford-Brookes University|
Art Related Publication
Gorayska, Barbara (2009). “Pragmatic Acts in Fine Art: A Question”, in B. Fraser and K. Turner, (eds.) Language in Life and Life in Language: Jacob Mey – A Festschrift. Bingley, UK: Emerald Group Publishing, 111-120.