These two oil portraits show my Cardigan Corgis, Patroclus and Lucius, painted from photographs but not treated as simple copies. Patroclus, three and a half years old, is cheerful, lively, affectionate and slightly shy — the kind of dog who wants closeness, but still carries a soft uncertainty in his expression. In his portrait, sitting …
Read more “Two Corgis, Two Portraits — Painting Patroclus and Lucius”
Many of the places I paint are not spectacular. A field.A riverbank.A road.A grey day.A house standing alone in the countryside.A line of trees at the edge of a meadow. These subjects do not announce themselves as important. They do not demand attention in the way famous monuments or dramatic landscapes do. But for me, …
Sardinia does not give itself softly. The light is sharp. The rocks are hard. The sea changes color with a speed that makes painting almost unreasonable. A place that seems still for a moment can suddenly become impossible to hold: turquoise turns grey, shadows move across granite, wind disturbs the surface of the water, and …
Read more “Sardinian Light — Painting the Sea, Rocks and Silence of Gallura”
There are moments in painting when the process stops being about control. Instead of constructing an image, I find myself simply observing — responding to light, color, and movement without trying to force a result. In these moments, painting becomes closer to perception than intention. I am an oil painter working mainly with landscape and …
Read more “When Painting Becomes Observation Instead of Control”
The Farewell Tree near Stanisławice has been present in my imagination since childhood. It is connected with an old tradition from a village near Kozienice in Mazovia. In this place, an ancient pine once stood with a small shrine embedded in its structure. Funeral processions would stop there on the way to the parish cemetery, …
Read more “The Farewell Tree of Stanisławice – Memory, Ritual and Landscape”
People often ask why I still paint outdoors when modern cameras can record far more detail than I could ever capture on a small panel in a few hours. The answer is simple: a photograph and direct observation are not the same thing. Even the best camera does not see the way the human eye …
Read more “Why I Still Paint En Plein Air in the Age of Photography”
My practice as an oil painter is rooted in observation, but not in a purely descriptive sense. I am interested in how a subject is transformed once it passes through perception — how light, memory, and atmosphere begin to reshape what we see. I am an Italian-Polish oil painter working primarily with contemporary figurative and …
Read more “How I Approach Oil Painting – Light, Atmosphere and Perception in My Work”
