Bujnowski’s works strike a sin­gular balance between his means and his sub­ject. Upon observing their tech­nical bril­liance, one might suspect that this par­ticular tech­nique deter­mines the sub­ject of his canvas. And yet the opposite is true – each par­ticular sub­ject calls for a special means and so in the ideal con­stel­lation of what we are dealing with, the applied tech­nique reveals a deeper level of meaning within the represen­tation. The unusual noc­tur­nes of Graboszyce are an exam­ple of such maximal synergy, as the pale light of the moon creates the space of the nigh­tly land­scape. In the same way, Bujnowski’s per­fec­tly monochrome pain­tings in black come to life before our eyes as they are illuminated by just the right angle of light. Buj­now­ski con­sisten­tly pur­sues the idea of the black canvas, each sub­sequent work for­ming something of a cosmological credo. White light and black matter (paint) come together in an active embrace. The artist’s gesture, as plain as can be, deper­sonalized, whit­tled down to almost a purely mechanical movement, gives way to the third main aspect of his works. The full scope of the pain­ting is achieved using an absolute minimum, within the black “nearly nothing” there is “everything” to be revealed: light, space, time and history. Buj­now­ski actively evolves the traditions of pain­terly minimalism and con­cep­tualism, creating sin­gular works that are as figurative as they are abs­tract. Figurative with regard to the quotidian details, abs­tract with regard the prin­ciple guiding the world.