At the beginning of the curatorial visits to the workshop, I was curious about the selection of the canvases to be worked and their preparation with layers of paint, and even with some experimental or playful works that only served as support. When asking about this curious procedure, and the reasons why it was used, his response was surprising: “I want to build the works based on what I have already done, on the memory of my artistic experiments, it is an archeology, a kind of palimsest, where I must unearth to discover, and accumulate to leave a mark .”
In the first period of work our conversations developed around small envelopes of very dissimilar nature, where as treasures rescued from different family archives, we were busy grouping them by categories that were changed again and again. It was a new experience to see how the artist used as a matter of conceptual and aesthetic creation elements that were already units of meaning by themselves. His artistic joy in this stage of construction of the works, his exploration, aimed to find the essential components that allowed him from the most sensitive and visual to identify and recognize the strength of his ancestors, focusing on two leading figures: his grandfather Israel and the family before emigrating from Żelechów.
Piedad Casas, Curator.