No content, no narration, no commentary, no reality shown. Without satire or taking things with a pinch of salt. No martyrdom, politics, social fights. Without Sigismund’s Column, Saint Mary’s Basilica, Sukiennice, Gomułka, Gierek,
Sierakowski. Without rhinoceros, giraffes, busty women, and men with crude faces and weary hands. In brief – without theme or motif. Just the vibration of colours, the texture of successive layers of paint – wide dabs, splashes, trickles, thin spider web-like threads capturing the space of the painting. Such a Dwurnik is still a surprise to so many. And yet he has been creating abstract paintings for over a dozen years. What’s more, he claims that his art has always been lined with abstraction, since the very early city landscapes.
The painter says that his goal is ‘for a painting to contain some sort of mystery, charm, or magic, to have an effect and to enable interaction. It is all clearly visible in my abstractions, because these paintings function exclusively in the realm of sensations and feelings. They do not tell stories, they are devoid of narration that would eat and disperse the art of painting. In abstract works the only thing that’s left is the painting itself – das Bild.’
Dwurnik’s large-format abstract compositions need space, because only in a large space can they be truly seen, comprehended and felt.