The word ‘art’ is often associated with creativity and flair. Our minds conjure images of paintings, sculptures, and designs that speak to us through their distinct style and unique detail. However, we often take for granted the language of art itself, forgetting that it is a common door to culture, history and the meaning of life.

Artwork connects us all as humans with its insightful tongue, breaking down barriers of race, religion, sex and culture. It is a universal language, through which we come to understand ourselves and the world around us.

A master of such a language is Polish artist, Wlodzimierz Ksiazek, whose creations opens individuals’ eyes and their hearts in truly inspiring ways. His most recent works are currently on display at New York City’s Kouros Gallery, artwork that hints at this unspoken whisper of a dialogue between artist and viewer.

Inspired by the world around him, Ksiazek tries to capture his personal experiences through his every brush stroke.

‘My inspiration comes always from two sectors. One is my own evolving artwork, how the new body of work responds to the previous one, how the vocabulary develops and changes, which allows me to continuously take out of my newer work certain elements and replace them with experimental ones, and at the same time, reintroduce some of the theoretical and formal strategies I have long been employing. The second part of my inspiration is related to life itself, my personal journey through life, as well as global political changes within the world’, Ksiazek explains.

At first glance, his artwork may seem abstract and incoherent, but once given a deeper look, a distinct emotive quality emerges. His current display at the Kouros Gallery consists of several paintings, which exemplify a distinct style that falls between the art of sculpture and painting. His creations are complex and enigmatic, making use of vivid colours of dark blue, grey and black that are mixed with coarse textures which leap from the canvasses.

As Ksiazek explains, ‘My current paintings, including the most recent ones at the Kouros Gallery, employ strong, dominant physicality and visual complexity where the whole work–from the residues of the bottom layers to heavy impasto of the surface–envelops the content to give the work different meaning. Forceful abstract quality is well evidenced in those works’.

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