Waldemar Szysz

Each graphic technique gives great opportunities but also limitations. Each graphic artist working in the technology, which can best be expressed, which suits him, which he feels is best, which corresponds to the capabilities of the manual, psyche, motility and artistic plan.
Of all the artistic disciplines graphics just became my passion. Graphics and drawing, but after drawing graphics are different, or a graphic image is reversed, and this in a number of originals, which is a big advantage. I like drawing with pencil, pen and ink. Perhaps this resulted in my search for the fullest expression, in different graphic techniques, including computer graphics. The latter of necessity, not a fascination with the computer (problems with visual acuity).
Prefer working in a dry needle technique. This technique of intaglio printing is the closest figure. It is the most natural of all graphic techniques. Holding the needle is the same as a pencil, pen or stylus. The key is to work with a needle sharp, especially when working in copper. Copper makes a lot of resistance. It is hard, it seems that he wants to keep the needle in a party other than my plan. To keep it tame the needle very much. I dig it deep in the matrix. The effort pays off. I bounce from one array of about 30 almost identical images, while talking about this technique that is low-input (up to 10 correct prints).
In order to obtain a deep black zakreskowuję matrix vertically, horizontally, and the slants. Just run the needle gives me great and lasting velvety black dash.
So deep blacks out of a dry needle may be obtained only in technique but mezzotint mezzotint after a variety suchorytu.
Quite different with a dry needle doing the matrix zinc. It's full of the joy of creation. Needle accurately plotted my idea. Follow wherever I want. Not trying to escape from the calculated route. Hand without putting so much force as to draw such a pen on paper carries the needle gently and precisely. With all the freedom I can draw in all directions.
Print dry needles designed zinc is different than in copper. The drawing is a delicate, ethereal with a high volume of gray nuances while developed in the copper is hard and black. Working in copper giving up sensitive different strokes arising from a different stylus pressure on the matrix but with a greater or lesser density matrix of the plane. This procedure is closer than the dry needle miedziorytowi especially since working in the copper intentionally cleanse dash with shavings (a series of graphic Fri "Europe"). It gives me a line resembling a fine copperplate etching or even, in receipt of graphic impression of total silence.
In the series "The Island", which I treat as a special kind of free writing journal, the sensors do the classic 5x5 cm dry needle without removing the chip. Get a rough, rough, aggressive dash giving how characteristic of dry needles meatiness, black juxtaposed with contrasting it with white, or delicate lines arising from the different stylus pressure on the matrix.
Working on a matrix of zinc addition to the above mentioned advantages, however, has its disadvantages. The softness of the matrix leads to rapid fatigue during printing. I get about 6 very good copies and only these satisfy me. In four cases, I happened to get from one array of zinc only two prints.
Of course, one could say at this point in the absence of market for this amount is enough. However, taking part in numerous exhibitions and auctions, where the noble goals pursued willingly impart their graphics and endows them happy his friends so they could use a little more. To this end, I reach for most often and most often when a copper plate, which in itself has some heat and radiates a mysterious light. These problems previously encountered by developing graphics in copper cause I'm doing small graphic forms measuring from 5x5 cm to 25x25 cm. Reaching for the zinc plate and using the advantages I can work on larger sizes such as 46x36 cm and the time required to develop such a matrix is ​​comparable to work in a copper matrix with dimensions 10x10 cm but who knows? Perhaps only those who themselves do little graphic form.
Drypoint technique is capricious about what I have found more than once. Despite this, I'll always be faithful to her maybe with small "jumps to the side," but just to gain more experience for her.
Fascinated by the blackness of dry needles and here I must say that the graphics only black and white, I could not deny myself the pleasure of mezzotint done.
How different is the technique of all metal techniques. First, there should be a template for a black slave labor, where the only goal but the reward is to get a deep, beautiful, black velvet as I mentioned before in any other graphic technique of dry needles but not attainable.
This tedious and what not to say tedious procedure of unsteadiness, aimed at achieving the matrix to black, can be converted at that stage in the creative process using the matrix in different places with different spacing chwiejaki teeth such as 0.6 mm, 0.8 mm and 1 mm, this way we get three shades of black. The next process is a classic - the trackpad and drawing with light.
In mezzotintach probably comes closest to my drawings made with pencil or pen to my frequent desire to what is in the drawings are put into the graphics. But the time needed to develop a matrix for the state of black causes that rarely work in this technique. If you have a matrix format is always a little less than 30 cm. By comparing the time needed to prepare a matrix for dry needle technique or other techniques of metal is about 0.5 hours and for the mezzotint is about 50 hours for the above mentioned format. Too bad you can not buy ready-made zachwianych plates.
The recently opened exhibition of mezzotint-known Polish artist living permanently in the U.S.. Prior to the exhibition of the binding and arranging exhibitions in addition to taking into the hands of each image and enjoy the perfect workshop, I had the opportunity to talk
with the author. I asked her whether she is preparing a matrix or buy already shaken, because I heard that this possibility exists.
He replied that it is preparing itself and is the largest spacing chwiejakiem teeth she could buy, and the process is treated as a meditation.
The next mezzotincie, which I do try to meditate and I can prove it beneficial for my blood pressure, which without the support of drugs is far too high. Then mezzotint addition to its effect on my work had to have healing qualities of therapy.
Sometimes, perhaps often the case suggests a solution. Marking his car at a service station looked like a mechanic attached to the glass template with cut numbers, includes a compressor and a special device resembling airbrush sprayed on alumina template under high pressure. After performing this procedure to permanently remain on the glass numbers. Eureka! But instead of just substituting windows and a copper plate with this device it carefully sandblasted with corundum. I checked the other day. It works. I got a perfect deep blacks. It has already been developed drawing just stroking the matrix and then bounce it on paper.
The results are surprising. You can now draw from sanding drawing: more or less according to plan art sandblast some parts of the matrix in order to obtain different shades of gray and where to be full white - never. You can draw with your hand or use templates.
Mezzotint without chwiejaka it's nice to make life easier
and for me the opportunity to fine her connection to my favorite technique - the dry needle.
His small discovery I shared with my students, I teach graphic art in Lublin Faculty of Art and UMTS European Academy of Arts in Warsaw.
The effects do not have to wait long. In 2001, the EAS student Sarah Stepien, who made an annex to the diploma in graphic art under my direction, presented a set of graphics Fri "Sensitive places" in the mezzotint technique, applied the process of preparing a mold, which I described above. Her works were recognized among the committee members as evidenced by a very good addition to the satisfaction I evaluated a set schedule so I got a spontaneous kiss from the author, inter alia, for the tip, which allowed her to bypass the tedious process of unsteadiness matrices.
The joy can not last forever. There comes a time when we have to pay for his carelessness. After all, who thinks of health, when the graphics calls. Sitting on the matrix until dawn, because it works well in the comfort of his studio, a dream is yet to break unwanted oblivion. Enough for a couple hours of sleep, and again sat on the matrix. Such an occupational health and had had its consequences. I noticed that the world is beginning to see through light fog, which gradually began to thicken. About working with the matrix was not the question.
Subsequent visits to the eye doctor did not give anything except change the stronger glasses. But after returning to the studio proved to be too weak.
This "game" lasted two years, that is, until I went to a "normal" eye doctor, taking with him a copper plate and a needle. I asked for a traditional eye exam and not the computer! He demonstrated how to work rather like working. Optometrist understood what was going on. Measured the distance from the eye to the glass matrix and drew. From this moment I can work again as before and that of a prosthesis on his nose? So what? The most important that I can!
These two years (late 1999 to early 2002) I had "something" to fill, because the graphics without "graficzenia" is "dead images".
All art workshop and especially metal falling off. It was only that I will never valued - computer graphics.
To do computer graphics graphics programs had to understand that to serve and specificity wreście the computer work. For this purpose, for almost an annual salary of an academic teacher bought a computer, scanner, printer, and for this a couple of other "fountains".
After six years of unequal struggle with the treacherous and soulless machine, I did the first graphic. Computer forced to obey. It rarely mocks me when I will execute an operation and he responds to it, for example, such information: "This program has performed an illegal operation and will be shut down if the problem persists contact the program vendor." The problem persists and the dealer hands helplessly unfolded. I always wondered how he feels at that moment the pilot with passengers on board when, for example during the flight at an altitude of 9000 meters in the board computer displays this information.
At the end of the year since he debuted in my studio probably even liked. I gave him a new job and he willingly follow them.
Within one and half year was about 40 prints, all similar to the format of B 1 (series: "Tears of Europe" and "European Totems").
All served to a drawing made me a pen "Tears of Europe" in 1999. I took it as a matrix of the mother, who, after the scan until the machinability in line with my expectations.
Only now appreciated this technique, the biggest advantage is that from the very beginning of everything you see on your monitor - full control. And his hands are clean but I enjoyed the least and even gave them a sense of a deficit. To wreście the ink stain, I reached for serigraphy. I used what was at work with your computer. Series of prints created Fri "Letters of Lublin".
However, no computer graphics or serigraphy were not able to give me such satisfaction, such satisfaction at work as it did in the case of metal techniques. And the results? Black seems to be dead and flat.
About the black, which is obtained in the technique of dry needles and mezzotint can only dream about. Maybe that is what is causing the jury to dislike these techniques to a variety of graphic art competitions. But thanks to them I could work for me in difficult moments,
and even got a graphic made in these techniques, three prizes in the competitions: "Image of the Year" in Lublin "Graphics Warsaw" in Warsaw and in the third national competition of graphic "Triennial Tczewskie".
In time, when I started using in his work a variety of techniques, I asked myself what I give? Do you bring anything? Do they have an impact on my work? Of course. Each technique is when you reach for after their distinctive capabilities and limitations I mentioned at the beginning of this discussion. Today I know that I can not expect a computer to pretend that it will be a dry needle or mezzotint just because their black suits me and turns. What I can utilize and bring your idea to the limits of the maximum voltage in accordance with my artistic creation and all of these treatments should serve only the final product or as a graphic print.
I have often heard opinion that this image was made in the noble art, and even horror of horrors in the art elite. It is of course the classic techniques of relief printing
and concave. I think that reaching for one of these techniques is always the result of artistic intent.
The workshop itself can not and is not an end but with his help can be expressed using all its features and even defects. It can also be a factor in search of meaning discovery and artistic expression. I know the graphic artists whose works make up appreciated that any technique such as serigraphy, lithography, or computer are elite and have a right to exist at the shows along with other images taken in the classical techniques.
Now, when I met a computer and its limitless possibilities and serigraphs, which so readily uses it for the second time I cried: Eureka! But these techniques can be used for etching and aquatint, classical techniques. I Ba through this little discovery skip the process of asking, baking and preparing drawing on foot. I finally each figure, which was created on paper or turn on the monitor image without extended range of the matrix. How? Very simple. Just scan a picture or drawing. Using a graphics program Adobe Photoshop to replace him on the negative then select a filter artistic filter mezzotint with the "fine grain".
Now, highlight film or print the results of our work so far on tracing paper, silk-screened cover grid photosensitive emulsion, then put her film or computer printout and highlight. Rinse with water and at the end of the drying plant a template and drag the squeegee ink through the mesh graphic or the Syrian asphalt with a suitable consistency. Next proceed as in the traditional akwatincie. Digestion in line with our intention and expectations. Of course, in addition to black and white images, this method can be performed using colorful graphics to CMYK mode commonly used in printing. For this purpose, the menu "Image" select "CMYK color". We obtain four images and the process to proceed as was the case with graphic black and white four matrices for C Red, Blue M, Y and K, yellow, black. It is only fit to print and subsequent matrices. In the case of lines or etchings behave identically but without the filter "grain mezzotint."
My experience with the computer as an independent printing technique has come to an end.
Again I see sharply. I went back to my dry needles. Certainly the experience I gained will be used in the following graphics to be created. I've always wanted to do in large format graphics. The computer and allowed me to serigraph.
Now again I want to return to the small graphic form. Often the question: why small form? I answered with a smile and jokingly will make small but large graphics rather than large and small.
In fact if the format is the graphics quality?
I think that neither the size nor even the only technique that will be forever trapped in the papers.

Waldemar Szysz
www.waldemarszysz.eu

Each graphic technique gives great opportunities but also limitations. Each graphic artist working in the technology, which can best be expressed, which suits him, which he feels is best, which corresponds to the capabilities of the manual, psyche, motility and artistic plan.
Of all the artistic disciplines graphics just became my passion. Graphics and drawing, but after drawing graphics are different, or a graphic image is reversed, and this in a number of originals, which is a big advantage. I like drawing with pencil, pen and ink. Perhaps this resulted in my search for the fullest expression, in different graphic techniques, including computer graphics. The latter of necessity, not a fascination with the computer (problems with visual acuity).
Prefer working in a dry needle technique. This technique of intaglio printing is the closest figure. It is the most natural of all graphic techniques. Holding the needle is the same as a pencil, pen or stylus. The key is to work with a needle sharp, especially when working in copper. Copper makes a lot of resistance. It is hard, it seems that he wants to keep the needle in a party other than my plan. To keep it tame the needle very much. I dig it deep in the matrix. The effort pays off. I bounce from one array of about 30 almost identical images, while talking about this technique that is low-input (up to 10 correct prints).
In order to obtain a deep black zakreskowuję matrix vertically, horizontally, and the slants. Just run the needle gives me great and lasting velvety black dash.
So deep blacks out of a dry needle may be obtained only in technique but mezzotint mezzotint after a variety suchorytu.
Quite different with a dry needle doing the matrix zinc. It's full of the joy of creation. Needle accurately plotted my idea. Follow wherever I want. Not trying to escape from the calculated route. Hand without putting so much force as to draw such a pen on paper carries the needle gently and precisely. With all the freedom I can draw in all directions.
Print dry needles designed zinc is different than in copper. The drawing is a delicate, ethereal with a high volume of gray nuances while developed in the copper is hard and black. Working in copper giving up sensitive different strokes arising from a different stylus pressure on the matrix but with a greater or lesser density matrix of the plane. This procedure is closer than the dry needle miedziorytowi especially since working in the copper intentionally cleanse dash with shavings (a series of graphic Fri "Europe"). It gives me a line resembling a fine copperplate etching or even, in receipt of graphic impression of total silence.
In the series "The Island", which I treat as a special kind of free writing journal, the sensors do the classic 5x5 cm dry needle without removing the chip. Get a rough, rough, aggressive dash giving how characteristic of dry needles meatiness, black juxtaposed with contrasting it with white, or delicate lines arising from the different stylus pressure on the matrix.
Working on a matrix of zinc addition to the above mentioned advantages, however, has its disadvantages. The softness of the matrix leads to rapid fatigue during printing. I get about 6 very good copies and only these satisfy me. In four cases, I happened to get from one array of zinc only two prints.
Of course, one could say at this point in the absence of market for this amount is enough. However, taking part in numerous exhibitions and auctions, where the noble goals pursued willingly impart their graphics and endows them happy his friends so they could use a little more. To this end, I reach for most often and most often when a copper plate, which in itself has some heat and radiates a mysterious light. These problems previously encountered by developing graphics in copper cause I'm doing small graphic forms measuring from 5x5 cm to 25x25 cm. Reaching for the zinc plate and using the advantages I can work on larger sizes such as 46x36 cm and the time required to develop such a matrix is ​​comparable to work in a copper matrix with dimensions 10x10 cm but who knows? Perhaps only those who themselves do little graphic form.
Drypoint technique is capricious about what I have found more than once. Despite this, I'll always be faithful to her maybe with small "jumps to the side," but just to gain more experience for her.
Fascinated by the blackness of dry needles and here I must say that the graphics only black and white, I could not deny myself the pleasure of mezzotint done.
How different is the technique of all metal techniques. First, there should be a template for a black slave labor, where the only goal but the reward is to get a deep, beautiful, black velvet as I mentioned before in any other graphic technique of dry needles but not attainable.
This tedious and what not to say tedious procedure of unsteadiness, aimed at achieving the matrix to black, can be converted at that stage in the creative process using the matrix in different places with different spacing chwiejaki teeth such as 0.6 mm, 0.8 mm and 1 mm, this way we get three shades of black. The next process is a classic - the trackpad and drawing with light.
In mezzotintach probably comes closest to my drawings made with pencil or pen to my frequent desire to what is in the drawings are put into the graphics. But the time needed to develop a matrix for the state of black causes that rarely work in this technique. If you have a matrix format is always a little less than 30 cm. By comparing the time needed to prepare a matrix for dry needle technique or other techniques of metal is about 0.5 hours and for the mezzotint is about 50 hours for the above mentioned format. Too bad you can not buy ready-made zachwianych plates.
The recently opened exhibition of mezzotint-known Polish artist living permanently in the U.S.. Prior to the exhibition of the binding and arranging exhibitions in addition to taking into the hands of each image and enjoy the perfect workshop, I had the opportunity to talk
with the author. I asked her whether she is preparing a matrix or buy already shaken, because I heard that this possibility exists.
He replied that it is preparing itself and is the largest spacing chwiejakiem teeth she could buy, and the process is treated as a meditation.
The next mezzotincie, which I do try to meditate and I can prove it beneficial for my blood pressure, which without the support of drugs is far too high. Then mezzotint addition to its effect on my work had to have healing qualities of therapy.
Sometimes, perhaps often the case suggests a solution. Marking his car at a service station looked like a mechanic attached to the glass template with cut numbers, includes a compressor and a special device resembling airbrush sprayed on alumina template under high pressure. After performing this procedure to permanently remain on the glass numbers. Eureka! But instead of just substituting windows and a copper plate with this device it carefully sandblasted with corundum. I checked the other day. It works. I got a perfect deep blacks. It has already been developed drawing just stroking the matrix and then bounce it on paper.
The results are surprising. You can now draw from sanding drawing: more or less according to plan art sandblast some parts of the matrix in order to obtain different shades of gray and where to be full white - never. You can draw with your hand or use templates.
Mezzotint without chwiejaka it's nice to make life easier
and for me the opportunity to fine her connection to my favorite technique - the dry needle.
His small discovery I shared with my students, I teach graphic art in Lublin Faculty of Art and UMTS European Academy of Arts in Warsaw.
The effects do not have to wait long. In 2001, the EAS student Sarah Stepien, who made an annex to the diploma in graphic art under my direction, presented a set of graphics Fri "Sensitive places" in the mezzotint technique, applied the process of preparing a mold, which I described above. Her works were recognized among the committee members as evidenced by a very good addition to the satisfaction I evaluated a set schedule so I got a spontaneous kiss from the author, inter alia, for the tip, which allowed her to bypass the tedious process of unsteadiness matrices.
The joy can not last forever. There comes a time when we have to pay for his carelessness. After all, who thinks of health, when the graphics calls. Sitting on the matrix until dawn, because it works well in the comfort of his studio, a dream is yet to break unwanted oblivion. Enough for a couple hours of sleep, and again sat on the matrix. Such an occupational health and had had its consequences. I noticed that the world is beginning to see through light fog, which gradually began to thicken. About working with the matrix was not the question.
Subsequent visits to the eye doctor did not give anything except change the stronger glasses. But after returning to the studio proved to be too weak.
This "game" lasted two years, that is, until I went to a "normal" eye doctor, taking with him a copper plate and a needle. I asked for a traditional eye exam and not the computer! He demonstrated how to work rather like working. Optometrist understood what was going on. Measured the distance from the eye to the glass matrix and drew. From this moment I can work again as before and that of a prosthesis on his nose? So what? The most important that I can!
These two years (late 1999 to early 2002) I had "something" to fill, because the graphics without "graficzenia" is "dead images".
All art workshop and especially metal falling off. It was only that I will never valued - computer graphics.
To do computer graphics graphics programs had to understand that to serve and specificity wreście the computer work. For this purpose, for almost an annual salary of an academic teacher bought a computer, scanner, printer, and for this a couple of other "fountains".
After six years of unequal struggle with the treacherous and soulless machine, I did the first graphic. Computer forced to obey. It rarely mocks me when I will execute an operation and he responds to it, for example, such information: "This program has performed an illegal operation and will be shut down if the problem persists contact the program vendor." The problem persists and the dealer hands helplessly unfolded. I always wondered how he feels at that moment the pilot with passengers on board when, for example during the flight at an altitude of 9000 meters in the board computer displays this information.
At the end of the year since he debuted in my studio probably even liked. I gave him a new job and he willingly follow them.
Within one and half year was about 40 prints, all similar to the format of B 1 (series: "Tears of Europe" and "European Totems").
All served to a drawing made me a pen "Tears of Europe" in 1999. I took it as a matrix of the mother, who, after the scan until the machinability in line with my expectations.
Only now appreciated this technique, the biggest advantage is that from the very beginning of everything you see on your monitor - full control. And his hands are clean but I enjoyed the least and even gave them a sense of a deficit. To wreście the ink stain, I reached for serigraphy. I used what was at work with your computer. Series of prints created Fri "Letters of Lublin".
However, no computer graphics or serigraphy were not able to give me such satisfaction, such satisfaction at work as it did in the case of metal techniques. And the results? Black seems to be dead and flat.
About the black, which is obtained in the technique of dry needles and mezzotint can only dream about. Maybe that is what is causing the jury to dislike these techniques to a variety of graphic art competitions. But thanks to them I could work for me in difficult moments,
and even got a graphic made in these techniques, three prizes in the competitions: "Image of the Year" in Lublin "Graphics Warsaw" in Warsaw and in the third national competition of graphic "Triennial Tczewskie".
In time, when I started using in his work a variety of techniques, I asked myself what I give? Do you bring anything? Do they have an impact on my work? Of course. Each technique is when you reach for after their distinctive capabilities and limitations I mentioned at the beginning of this discussion. Today I know that I can not expect a computer to pretend that it will be a dry needle or mezzotint just because their black suits me and turns. What I can utilize and bring your idea to the limits of the maximum voltage in accordance with my artistic creation and all of these treatments should serve only the final product or as a graphic print.
I have often heard opinion that this image was made in the noble art, and even horror of horrors in the art elite. It is of course the classic techniques of relief printing
and concave. I think that reaching for one of these techniques is always the result of artistic intent.
The workshop itself can not and is not an end but with his help can be expressed using all its features and even defects. It can also be a factor in search of meaning discovery and artistic expression. I know the graphic artists whose works make up appreciated that any technique such as serigraphy, lithography, or computer are elite and have a right to exist at the shows along with other images taken in the classical techniques.
Now, when I met a computer and its limitless possibilities and serigraphs, which so readily uses it for the second time I cried: Eureka! But these techniques can be used for etching and aquatint, classical techniques. I Ba through this little discovery skip the process of asking, baking and preparing drawing on foot. I finally each figure, which was created on paper or turn on the monitor image without extended range of the matrix. How? Very simple. Just scan a picture or drawing. Using a graphics program Adobe Photoshop to replace him on the negative then select a filter artistic filter mezzotint with the "fine grain".
Now, highlight film or print the results of our work so far on tracing paper, silk-screened cover grid photosensitive emulsion, then put her film or computer printout and highlight. Rinse with water and at the end of the drying plant a template and drag the squeegee ink through the mesh graphic or the Syrian asphalt with a suitable consistency. Next proceed as in the traditional akwatincie. Digestion in line with our intention and expectations. Of course, in addition to black and white images, this method can be performed using colorful graphics to CMYK mode commonly used in printing. For this purpose, the menu "Image" select "CMYK color". We obtain four images and the process to proceed as was the case with graphic black and white four matrices for C Red, Blue M, Y and K, yellow, black. It is only fit to print and subsequent matrices. In the case of lines or etchings behave identically but without the filter "grain mezzotint."
My experience with the computer as an independent printing technique has come to an end.
Again I see sharply. I went back to my dry needles. Certainly the experience I gained will be used in the following graphics to be created. I've always wanted to do in large format graphics. The computer and allowed me to serigraph.
Now again I want to return to the small graphic form. Often the question: why small form? I answered with a smile and jokingly will make small but large graphics rather than large and small.
In fact if the format is the graphics quality?
I think that neither the size nor even the only technique that will be forever trapped in the papers.
Waldemar Szysz

First Prize in National Art Competition "Man and Environment", Lublin 1995,
Second Prize in the Competition "Image Warsaw." Warsaw, 1995,
Distinction - International Ar t "Biennale" Malta Mediterranean Conference Centre, Valletta, Malta 1995;
Third Prize in the Competition " Image of the Year `97", Lublin 1997
Individual Award of the Rector of the University of Maria Curie-Sklodowska University in Lublin, Lublin 1998,
Award of the President of the European Academy of Fine Arts in Warsaw, Warsaw, 1999,
Second Prize in the Competition "Image of the Year 2000", Lublin 2000;
III The prize in the Third National Competition of Graphic "Tczewskie Triennial 2001", Tczew 2001,
Third Prize in the Competition "Image Warsaw", Warsaw 2001;
Medal Ars Iuvenalis, Warsaw 2003;
Award of the ZSP in Lublin, Lublin 2004,
Silver Cross of Merit, the President of Poland, Warsaw 2004; Outdoor: "International Fine Arts Słonne Confrontations", a village near Dubiecko Słonne, outdoor organized by the Gallery of Modern Art in Przemysl, 1994, '95, '96, '97, '98, '99, 2000, 2001, 2002.

Born 22/02/1958 in Siedliszczu years. Diploma in painting under the guidance of prof. Mariana Stelmasik in 1986, the Institute of Art Education University in Lublin (now the Faculty of Arts MCS). Assistant Professor of second degree in the Faculty of Arts University in Lublin, a professor of European Academy of Arts and the Polish Japanese Institute of Technology in Warsaw. In 1994-2006, he served as Deputy Dean of the Faculty of Graphic S of the European Academy in Warsaw. Member of the Association of Polish Artists and the International Print Triennial Society in Krakow. In 1997, the scholarship of the Minister of Culture and Art. The founder of the artistic group "Barak." In 1991 founded the Studio Arts Art Project (Paap). He created the European Academy of Fine Arts Gallery in Warsaw, where he was curator and gallery Norwid in Lublin. In 2004, awarded the Silver Cross of Merit. Numerous awards in national and international competitions. By 24 solo exhibitions. He has participated in over 200 exhibitions in the country

exhibitions
1987 "Group Barak, drawing and graphics," Shack Zak, Lublin,
1987 "Winter Exhibition," Malachowski Palace, Nałęczów,
1991 "Group Barak," Culture of Lublin, Lublin,
1994 "Artists of UMTS", Museum at the Castle, Lublin,
1994 "Image of the Year", Gallery of Hades, Lublin,
1994 "National Biennial V to the values", Katowice,
1994 "IX Annual International Exhibition of Miniature Art", Del Bello Gallery, Toronto, Canada,
1995 "National Art Contest - Man and Environment" , Lublin,
1995 "Gallery of Contemporary Art", Chelm,
1995 "Gallery of Contemporary Art", Zamosc,
1995 "Museum of Natural History," Zwierzyniec,
1995 "Triennial Tczewskie - Graphics Cities", Tczew,
1995 "Images of Warsaw", Gallery Art, Warsaw,
1995 "Image of the Year" at the Castle Museum, Lublin,
1995 "International Exlibris Competition on the theme:" Ecology ", Sint Niclaas, Belgium,
1995 "VI International Biennial of Small Graphic Forms and Exlibris", Ostrow Wielkopolski,
1995 "IV Mezzotinta'95 International Print Triennial ", Gdańsk,
1995 "and International Art" Biennale "Malta Mediterranean Conference Centre, Valletta, Malta,
1995 "exhibition of landscape paintings Słonne'94", National Gallery of Modern Art, Przemysl,
1995 "Słonne'94" The museum in Komotini,
1995 "15 th Mini Print International de Cadaques", Taller Galeria Fort, Cadaques, Girona, Spain,
1995 "Joensuun Taidemuseo", Joensuu, Finland,
1995 "Wingfield Arts & Music Festival", Wingfield, England,
1995 " Ateneo ", Canet de Mar, Barcelona, ​​Spain,
1995 "L'Etang d'Art", Bages, France,
1996 "collection of works by lecturers of the European Academy of Arts", Gallery on the second floor, Poznan,
1996 "A collection of European Academy of Arts, Teachers' , Center for the Arts - Gallery EL, Elblag,
1996 "The European Academy of Fine Arts - Paintings, Drawings, Graphics'
Contemporary Art Gallery, Olsztyn,
1996 "Painting, Drawing, Graphic, European Academy of Arts", BWA Gorzow,
1996 "The European Academy of Arts", Gallery of Modern Art, Przemysl,
1996 "XVI International Biennial of Modern Exlibris", Malbork,
1996 "IX International Exhibition of Small Graphic Forms Poland, Lodz, "Lodz,
1996 "Exhibition of Lecturers
and Graduate Institute of Art Education UMTS ", Lublin,
1996 "15 of Lublin-Graphics", Museum of Jaroslaw,
1996 "15 of the Lublin-Image", Gallery of Contemporary Art, Zamosc,
1996 "15 of the Lublin-Graphics", District Museum, Sandomierz ,
1996 "15 of Lublin-Image", Gallery Vetter, Lublin,
1996 "Image Warsaw 1995" Provincial Office, Warsaw
1996 "Słonne'95", exhibition of landscape paintings, National Gallery of Modern Art, Przemysl,
1996 "the European Academy of Graphic Arts" , Ars Polona Gallery, Warsaw,
1996 "The European Academy of Arts", National Gallery of Modern Art, Przemysl,
1996 "16-th Mini Print International de Cadaques", Taller Galeria Fort, Cadaques, Girona, Spain,
1996 "Wingfield Arts & Music Festival" Wingfield, England,
1996 "Pau Casals Music Festival", Prades, France,
1996 "Ateneo" - Canet de Mar, Barcelona, ​​Spain,
1996 "L'Etang d'Art, Bages, France,
1996 "Sala d'exposicions de Sant Joan ", Lleida, Spain,
1996 "11 th Annual International Exhibition of Miniature Art", Del Bello Gallery, Toronto, Canada,
1996 "Image of Warsaw", Gallery Activities, Warsaw,
1996 "Image Warsaw 1995", Gallery Bałucka, Lodz;
1996 "Primer Encuentro Internacional de Arte en Homenaje and Guillermo Enrique Hudson"
Centro de Arte Moderno Quilmes, Buenos Aires, Argentina,
1996 "VI International Biennial Print and Drawing-face values," the Archdiocese Museum in Katowice,
1997 "Image Roku'96", Museum at the Castle, Lublin,
1997 "VI Bienal Mezinárodní Grafiky a Kresby - Vztah k Hodnotenie - Nebe and Země "
Zelezaren Trineckych Museum and Mesta Trinca, Czech Republic,
1997 "And Contemporary Art Forum in them. Witold Lutoslawski - Exhibition of Artists
IWA UMTS ", Catholic University, Lublin,
1997 "Graphics and Drawing UMCS IWA-Artists' Gallery of Hades, Lublin,
1997 "3 Katowice'97 Polish Print Triennial", Contemporary Art Gallery BWA, Katowice,
1997 "5 X 5 Graphics (J . Akermann, J.Grabowski, A.Pietsch, W.Szysz, E.Zawadzka) ",
Ars Polona Gallery, Warsaw,
1997 "5 X 5 Graphics" - Gallery Extravagance Sosnowiec,
1997 "Image UMCS - Winners of International Exhibitions," Museum. J.Czechowicza "Small Gallery Graphics" Lublin,
1997 Municipal Gallery "Arsenal", Poznań,
1997 Gallery GPTS "Point", Gdańsk,
1997 "Second Forum in Art - Education" - Artists UMCS - Jubilee Exhibition, Museum at the Castle, Lublin;
1997 "The European Academy of Fine Graphics Figure" Mad Mart Gallery, Lublin,
1997 "VII International Biennial of Small Graphic Forms and Exlibris", Ostrow Wielkopolski,
1997 "Image of Warsaw 1994-1996", exhibition accompanying the International Print Triennial in Krakow,
Studio Gallery, Warsaw,
1997 "East Salon of Art-Graphics, Drawing-Winners of National Exhibitions and International", BWA Lublin,
1997 "The European Academy of Arts - Graphics, Drawing,"
UNESCO World Symposium, Zamosc, Lvov, Kamieniec, Gallery of Contemporary Art, Zamosc,
1997 "Image of Lublin," House of Art Gallery, Warsaw,
1997 "Works of Art Auction for the flood victims," ​​Shack Zak, Lublin,
1997 "Słonne` 96 ' - exhibition of landscape paintings, National Gallery of Modern Art, Przemysl,
1998 "Image of the Year` 97 ", Museum at the Castle, Lublin,
1998 "Winners of International Exhibitions, Graphics MCS" Ars Polona Gallery, Warsaw
1998 "Vztah Hodnotenie k", Galerie Vytvarneho Umeni v Ostrava, Ostrava, Czech Republic,
1998 "Second Contemporary Art Forum in them. Witold Lutoslawski -
Art Faculty Exhibition Artists 'MCS', Lublin Philharmonic, Lublin,
1998 "XXVI Premio di Iternazionale - Grafica del Pomero" Rho, Milano, Italy,
1998 "Waldemar last shorter and His Workshop", European Academy of Arts Gallery, Warsaw,
1998 "18 th Mini Print International de Cadaques "Taller Gallery Fort, Cadaques, Girona, Spain,
1998 "Wingfield Arts & Music Festival", Wiengfield, England,
1998 "Article 26 Gallery", Barcelona, ​​Spain,
1998 "L'Etang d'Art", Bages , France,
1998 "First World Small Printings and Exlibris Works Exhibition",
Beijing International Exhibition Exlibris Arts, Beijing, China,
1998 "Agart World Print Festival 1998", Ljubljana, Slovenia,
1998 "Słonne` 97 "- exhibition of landscape paintings, National Gallery of Modern Art, Przemysl,
1998 "International Miniature Print Exhibit MIG - 98" , Barcelona, ​​Spain,
1998 "Second National Competition Graphic Triennial Tczewskie", Museum of the Vistula, Tczew,
1998 "Third Auction of Polish Artists and Works of Art ', Royal Castle, Warsaw,
1998 "Image of Lublin at the post office", Main Post Office, Lublin,
1999 "Internazionale di Grafica Collettiva", Galleria la Viscintea, Mazzo di Rho. Italy,
1999 "V Lubin Works of Art Auction," Castle Hill Community Centre, Lubin,
1999 "Słonne'98" - exhibition of landscape paintings, Gallery of Modern Art, Przemysl,
1999, "Waldemar last shorter and His Workshop", Gallery TPSP "Mansion House", Warsaw ,
1999 "III Contemporary Arts Forum in them. W.Lutosławskiego" State Philharmonic, Lublin,
1999 "5x5 and Young Polish" Mad-Mart Gallery, Lublin,
1999 "5x5 and Young Polish", European Academy of Arts Gallery, Warsaw,
1999 "10 Small Graphic Forms, Lodz, Poland` 99 ", Gallery House in Łódź,
1999 "Premio Internazionale di XXVII Grafica del Pomero" Rho, Milano, Italy,
1999 "Works of Art Auction for the construction of a monument to Janusz Korczak and His Children, "
The Shalom Foundation, Warsaw,
1999 "The International Festival of Graphic Arts, Cluj-Napoca-1999", Romania,
2000 "VI Lubin Works of Art Auction," Castle Hill Community Centre, Lubin,
2000 "Collettiva Internazionale Di Grafica", Galleria La Viscontea , Rho, Italy,
2000 "Słonne'99" - exhibition of landscape paintings, Gallery of Contemporary Art, Industry, l
2000, "Attitudes", the fourth Forum in Contemporary Art, Lublin,
2000 "Contemporary Images of Lublin", Museum of Lublin, Lublin,
2000 'Signum temporal ", Gallery Ostrołęka, Ostroleka,
2000 Art Gallery of Plock, Plock,
2000 Gallery "C" BWA, Ciechanów,
2001 Contemporary Art Gallery, Wloclawek,
2001 Piano Nobile Gallery, Cracow,
2001 BWA, Olsztyn,
2001 Art Gallery "Coach House" , Torun,
2001 Pomeranian Dukes' Castle, Szczecin,
2001 BWA Cellars, Kielce,
2001 Triad Gallery, Sopot,
2001 Vistula River Museum, Tczew,
2001 Art Gallery of Catherine Napiórkowska, Warsaw,
2001 "Image of the Year 2000", Museum of Lublin, Lublin,
2001 III National Competition for Figurative "Triennial Tczewskie" Tczew,
2001 "Gallery in the Gallery", Gallery ARP, Tower Royal Castle in Krasiczyn,
2001 "Słonne 2000", exhibition of landscape paintings, Gallery of Contemporary Art, Przemysl,
2001 5x5 and Young Polish ", Gallery Ostrołęka, Ostrołęka,
2001 "East-Graphics Art Salon 2001", BWA Lublin,
2001 "Image of Warsaw", Gallery "Test", Warsaw,
2001 "Collection of the Foundation Gallery at the Province," the Crown Court, Lublin,
2002 "VIII Lubińska Auction Works Art of the Great Orchestra of Christmas Charity "
Cultural Centre "Castle Hill", Lubin,
2002 "Artists MCS 2002", Galleria Mad Mar T, Lublin,
2002 "Small Graphics Forum Lublin 2002," Vetter MDK Gallery, Lublin,
2002 exhibition of landscape paintings "Słonne 2001", Gallery of Contemporary Art, industry;
2002 "Słonne in Lviv", the Ethnographic Museum, Lviv,
2003 "Graphics and Drawing of the Year 2001-2002", Museum of Lublin Castle, Lublin,
2003 "17 MCS, Graphics" Gallery "Jag", Pulawy,
2003 " Master and Student "," Ars Polona Gallery ", Warsaw,
2003 II Biennial of Fine Tarnowskie all sorts of "climate Tarnowskie 2003", Tarnow (juror),
2003 "European Academy of Arts Collection," Norwid Gallery, Lublin,
2004 "Ars Longa", Theatre Grand Opera House, Warsaw
2004 "Exhibition of computer prints", "Gallery of the decade", Tczew,
2005 Third Biennial "Tarnowskie Climates 2005", Tarnow (juror) v 2005
"IV International Biennial Exhibition of Portrait of a Family", Lublin (juror)
2006 "14 East Salon of Art", Lublin,
2007 "Waldemar last shorter: 7 +", "Gallery Ostrołęka" Ostrołęka,
2007 "Bene Meritus Lublinensi Terrae," Vena Art , Lublin,
2007 "Artists of UMTS", Lublin,
2007 "Small Graphics Forum", Gallery "under the floor", Lublin,
2007 "Signum Temporis", "Gallery of Summer", Kazimierz Dolny,
2008 "Angels" Shack Zak, Lublin;
2008 "European Academy of Arts Collection," Gallery "Tamka", Warsaw,
2008 "European Academy of Arts Collection," "BWA - Gallery Zamojska", Zamosc,
2006 "14 East Salon of Art", Lublin,
2007 "Waldemar last shorter: 7 +" , "Gallery Ostrołęka" Ostrołęka,
2007 "Artists UMTS", Lublin,
2007 "Small Graphics Forum", Gallery "under the floor", Lublin,
2007 "Signum Temporis", "Gallery of Summer", Kazimierz Dolny,
2008 "Angels" Zak Shack, Lublin,
2008 "European Academy of Arts Collection," Gallery "Tamka", Warsaw,
2008 "European Academy of Arts Collection," "BWA - Gallery Zamojska" Zamosc;