2008, solo exhibition, Galeria dla..., Torun

Our cognition can compared to a sphere. The bigger the sphere, the more points of contact with the unrecognized.

P. Diemanowicz Uspienski


Our instrument of seeing is imperfect and gives the incorrect and incomplete picture of the world. And we are doomed to the ambiguous and fragmented reading, naming and creating our reality. Our observations of the exterior world present things in their individual, fragmentary features.

The available information is fragmentary and imperfect and this – literally speaking – is suggested by the quantum physics.

In the case of smaller than atoms particles, it is impossible to set simultaneous and precise position, speed and mass of them. The Heisenberg uncertainty principle states that uncertainty will always be the part of every scientific prediction.

The error emerging there constitutes the hard rule of our everyday experience of life and creation, which I think makes a whole.

Morever, each of us carries in ourselves our own space, private point of view of the surrounding world and it is the most important one ( in physics it is e.g. own time of the structure).

The development of the vision and cognition happens in the time and not without real, shaping it, conditions.

It is similar to the Eintein’s time – space, full of physical events which shape it and are dependent to them. They make it curve at the same time.

In the realization articulations, having limited the scope of our cognition to two cyclically changing ( like day and night) realities, I am wondering to what extent we are prone to the illusion, in this case, concerning architecture of the exact and ready rooms of gallery.



Room A – long white space of gallery which is covered by the slanting roof supported by the raw of columns.

In this space I stretched diagonally the luminous line. I used a tool to switch on and off the light cyclically. The lighted bulb, hanged in the the centre of the room showed the real charcter of the white interior and at the same time it charged up the fading in the darkness luminous paint.

After switching off the light, in the complete darkness there was seen only luminescence line changing our vision of the same space.

It was accompanied by the swoosh of surf sound.


The small square room (B) of the gallery was darkened completely; the floor covered with mirrow sheet of metal on the soft layer of foam – rubber padding. The mirror ceiling was hanged 2 meters hight. The only element of this empty black room is a narrow column at the entrance. One part of its walls was painted with luminous paint, whose reflection in the floor and ceiling created endless column. The viewer, walking on the soft floor, was distorting a bit the reflection of the column which followed his/ her steps.

Analogically to the room A, the cyclically switched on light discovered the real space of the gallery room.