(2022/23)

Printed as a monotype on a silkscreen base – each piece is unique, yet part of a disciplined seriality. The works in the 100 series were created on genuine cotton rag paper using hand-drawing and a self-developed hybrid technique. Each image is a unique piece, marked by its own visual dynamic. I used black gouache, sharply contrasting with the bright white of the high-quality paper. The motif: numerous oversized daisies stacked on top of one another (in Polish: „Stokrotki” – literally “a hundred times”), their line-focused contours constantly shifting within the image. The clear line, one of my most essential tools of expression, distinctly forms the flower’s shape – and yet, it keeps dissolving, spreading into deep black fields across the surface. Seen up close, these dark areas reveal hidden structures: sharp outlines embedded in the almost blood-like blackness – resembling the burnt trace of a skeleton.This interplay between what seems and what is – between purity and distortion – is where I try to create ambiguity and multi-layered meaning during the process of making the image. Daisies. So ordinary, so taken for granted. Found everywhere – in fields, cities, roadside margins. In sunlight and half-shadow. A perennial, evergreen plant that seems to thrive anywhere, asking for nothing. Often associated with innocence and trust, and yet, despite its resilience, perceived as delicate. What speaks to me most is its minimal form – sun-like, almost iconic – and its reduced color scheme: white petals and a yellow circular center. In Polish, the daisy is called Stokrotka – literally, “the hundred-times-little-one.” That’s where the title 100 comes from: a symbolic gesture toward infinity, and at the same time, a nod to the idea of one daisy – repeated a hundred times.