Bujnowski explores the theme of the politics of light and painterly illusion in the context of human skin color.
A series of portraits made on paper kitchen towels, used by Bujnowski to clean his brushes.
(Polski) Wykonane tuszem kompozycje z serii “Człowiek na drzewie” to opisana najprostszymi środkami plastycznymi metafora uwikłania, ale też swoistego azylu i ukrycia.
A series of abstract tondi with different variations of a geometric, color-gradient composition.
In his paintings from the “Perspective Trap” series Bujnowski explores the concept of an illusion of a three-dimensional object in a way that undermines traditional ways of looking at an image.
A new series of nocturnal landscapes is an example of a maximal synergy between the painter’s means and his subject.
“Down” is a painting composed of four panels, each with its respective compositional order; Bujnowski combines his experiments with the texture of a painting with the creation of an illusory spatial arrangement.
The simplest drawing gesture – chalk on a blackboard – unobliging and radically impermanent, meets the destruction of the arson, whose gesture is equally simple, though mercilessly irreversible.
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.
Central to these monochromatic pictures is the shaping of the painting’s surface so that, when struck by various kinds of light, falling from different angles, of various temperatures and intensities, the work creates the illusion of being three-dimensional and multicolor.
“Bamboos” are painted in thinned black paint – peculiar traces on the wet surface of the canvas are the inscription of an automatic action lasting only a few seconds.
In the works in the Lead Window series, Bujnowski uses a traditional decoration technique to immortalize a drawing of smashed or shot window panes.
The horizontal pictures with their precise structures of broad, impasto brush strokes and subtle sfumato, generate a second layer in the reflections on the glass covering them.
A model anti-hero, a man from the margin who wins fame parenthetically, a tale of the unpredictability of fate. Bujnowski’s monument complements this tale, paying a homage and bestowing the power of representation to that which eludes systems of political planning.