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Since 1992, Andrzej Piwarski has been working on a series called “Traces of Time,” in which once again, he is describing the human condition recorded in the traces, signs and symbols that we leave behind on the map of walls, roads, shop windows, newspapers, fences, as well as, human faces, doors, books, trees… The painting of Piwarski is deeply emotional and personal, although events like the Martial Law or political crimes are no longer present in his life. The dominating “I” of the artist can be seen in the creation of his work, whether it demonstrates a vision of a landscape or a self-portrait. And, despite the fact that, for a long time, the deciding role in his paintings has been played by colourful spots, which vary depending on the area of the world he is visiting, the artist combines them with realistic and, at the same time, symbolic elements. Universally recognizable symbols of a modern man with an uninhibited need to mark his presence. However, the colour is an essential layer of every work. The colour fascinates the artist. It changes but, next to works with a rather clean, saturated colour – depending on the mood – there are paintings with a monochromatic tonation, reminiscent of childhood, youth, and also perhaps difficult years of early emigration.

The texture of the painting is also important. By using marble powder mixed into the paint, Piwarski achieves the third dimension, an additional shadow, which gives the painting the characteristics of a relief sculpture, or an intaglio print – a cross between painting, sculpting and writing the painting. The artist produces a peculiar ecumenism of art. Directly touching upon the entire output of the Mediterranean-Byzantine culture, becoming a natural inheritor of the Altamira frescos, drawings of the Roman terra sigillata pottery and the great mural compositions of Joan Miró. It is because art – as the painter says – must be a natural consequence of what has already been, and influence the overall culture of what is now.
This painting is, by all means, “classical” in form and, by all means, modern in its description of man in the face of civilization and social threats. Surrealistic and sensual. And most importantly, it doesn’t leave the viewer indifferent.

Dr MIROSŁAW SUPRUNIUK – 2004

SPAIN XXVI – Oil, Marble powder – 140 x 100 cm – 1994

WALL FULL OF LIFE – Oil, Marble powder – 100 x 80 cm – 2006

WALL IN THE SUN – Oil, Marble powder – 120 x 100 cm – 2005

MORNING – Oil – 70 x 90 cm – 2008