Michał Budny (born 1976) and Kajetan Sosnow­ski (1913–1987) meet for the first time. This joint exhibition com­bines the latest objects by Budny with Sosnowski’s “sewn pain­tings” and reveals the intriguing shared strains in their works. This sym­biotic con­fron­tation re-​examines the existing positions of both artists in the history of art, disc­losing the broader, art-​historical con­text of Budny’s prac­tice and restoring to con­tem­porary relevance the original and still underap­preciated work of Sosnowski.


The common denominator for both figures is an imposing clarity of vision, the expres­siveness of simple but subtle forms, and a purist relation­ship to the material as the physical essence of the work. The tac­tile and emotional con­tent of tem­perature, colour, light, weight, den­sity and soft­ness inheres in organic materials and their structure—in natural canvas, rubber, wood or steel. The works of both artists, seemin­gly abs­tract, in various ways defy easy clas­sifications of genre. They operate through images and masses but use little pain­ting or sculpting.


Budny’s most recent sculp­tural objects are a kind of spatial choreography. The individual figures—masses—are based on the sim­plest gestures, motions of the hands or arms, executed within a cir­cum­ference of opening, gathering, grasping, embracing. They allude to relations and emotions. Sosnowski’s sewn pain­tings similarly com­bine fun­damen­tal gestures of cut­ting, sewing, and stret­ching, alluding to actions associated with the creation of clothing and ensh­rouding of the body. This humanistic dimen­sion of Budny’s and Sosnowski’s com­positions generally finds its origins in an abs­tract drawing—noted on paper or only conceptualized—as a type of minimalist score, the sim­plest recor­ding of an idea.


Kajetan Sosnow­ski worked on his sewn pain­tings from the mid-1970s. He executed them him­self using a sewing machine and dif­ferent varieties of linen and cotton canvas. He created three dif­ferent series of these works: Katalipomena (the sim­plest com­positions sewn from mat­ching pieces of raw canvas), Interven­tions (pain­tings from a single piece of material sewn to form folds on its sur­face), and Equivalent Arran­gements (com­positions based on mathematical propor­tions, sewn from varied, often mul­ticoloured canvases). The inspiration for creation of pain­tings from raw material was his stay at the plein-​air in Jagniątków, Lower Silesia, in 1975, with the theme of environ­men­tal protec­tion. Katalipomena (from the Greek for preserving or protec­ting) was inten­ded by the artist as a project with an ecological mes­sage, “an homage to the per­fec­tion of nature,” as he put it. Focusing on the natural struc­ture of linen or cotton, the drawing of warp and weft, takes on an essen­tial, nearly cosmological meaning here. A similar organic thin­king about material charac­terizes the works of Michał Budny. In both instan­ces, addres­sing the physical proper­ties of natural materials is an attempt to restore balance—environmental and spiritual.

upcoming exhibition

Michał Budny, Kajetan Sosnowski



Exhibition opening 18 January 2020,
12 noon – 6:00 pm


At 2:00 pm, a meeting with the heirs of Kajetan Sosnowski



Works of Kajetan Sosnowski from the collection of the family in conjunction with gallery Beta16

Special thanks to Karolina Nowak-Sarbińska for the exhibition concept