Polish Pines

From December to June series

From Decem­ber to June series con­sists of 96 pain­tings dedicated to the vic­tims of mar­tial law. Each of Dwurnik’s canvases is entitled after the name of the deceased.

Posters

Original posters by Edward Dwur­nik from the 1980s, which accom­panied individual shows by the artist. The expres­sive style of these works and the spareness of their prin­ting per­fec­tly cap­ture the specific climate of the crisis decade of mar­tial law, strikes, and the dawn of the Polish transformation.

Mojżesz

The work belongs to the short but unusual series created in 1973 in cooperation with the photographer Teresa Gierzyńska.

KłamsTVa

(Polski) Rysunki z serii KłamsTVa to przykłady politycz­nej eks­presji czasów strajków i stanu wojen­nego oraz zapis społecznego sprzeciwu wobec manipulacjom władzy.

Romuald Traugutt Street in Sierpc

(Polski) Charak­terystyczny dla Dwur­nika widok Polski z małomiasteczkowej per­spek­tywy z ikonicz­nym dla artysty motywem wiel­kiej główy i ujmującą aurą nawiązującą do prac Nikifora, którymi Dwur­nik się inspirował.

Long Live the War!

The Long Live the War! series has been pain­ted since 1991. On canvases, Dwur­nik shows heads in military hel­mets and caps set against a blue back­ground. Pain­tings from this series are meant to be an accep­tance of liberation wars waged by small states.

Gathering in the Square

GentlemenBoys

Łukasz Gor­czyca and Michał Kaczyński por­trayed by Edward Dwurnik.

Christ in the village

In the X series called “Cross”, Dwur­nik deals with Christian and pas­sion issue. The pain­ting is a dramatic visualization of the pas­sion of Christ in the 20th-century reality.

Happy return home after work

Portraying a couple of people retur­ning home after work, Edward Dwur­nik blurs the boun­dary between what is lofty and banal, sym­bolic and prosaic.

Postman

The pain­ting belongs to the Wor­kers series, in which Dwur­nik por­trays the “working class” of the PRL times.

Mother Skins Rats

The pain­ting belongs to the Spor­t­smen series. Edward Dwur­nik does not avoid blunt­ness and naturalism.

Drunkard

A view of the sur­roun­ding reality from the per­spec­tive of a drunk man kneeling alone in the crowd

My Head

Artist’s self-​portrait in which he per­forms the act of his own decapitation.

To the end

In his drawings and col­lages from the To the end series Edward Dwur­nik presents the mental land­scape of national streets and bac­kyards. Aggres­sion and sexism are pushing men like a well-​oiled machine.