Mariusz Sołtysik
Land scape
CONTEMPORARY ART REVIEW culture goods such as music , or books . I was growing up in such aesthetics . Points of transformation , which shaped me in the context of changing reality played a decisive role in my future creative path and they also influenced changes in medium used in my works . No artist ever creates in a void , his works always reflect changing times .
After my studies in Łodz , the first important point was studying at L ’ ESAPV in Mons in Belgium . The new tool was screenprinting , there were elements of photography involved in the process of that medium . It was a way of leaving the aesthetics of greyness for the benefit of colour . The next point was a decision to enter space and to create ephemeral works with the use of light , water , and materials changing under the influence of temperature ( for example wax ). Next , there were video projects , installations and site-specific works . I have never resigned from , for example , drawing . The freedom of expression does not mean , in my opinion , a prison , which I see in focusing on one medium only . The tools to expose your own thoughts / meanings do tend to increase , change with time and context . I wonder if contemporary teenagers think about a phone , or an HD tablet in a different way to how people used to think about a pencil , or crayon in 20th century . It also seems to me that the features of intermedia works , which were formulated by Dick Higgins , are now widely available to all viewers . Now that , I mentioned Higgins , I found an important inspiration in Fluxus group . I still feel that the group is a great inspiration for me . I am one of the lucky ones , who belonged to the International Association of Artists in 1990s , it was led by two artists Emmett Williams and Ryszard Waśko . Thanks to that , I could participate in performances of Fluxus artists , for example Fluxus Dinnes in 1998 and in 2010 in Lodz , or in Construction in Process in Israel in 1995 , or in Melbourne in Australia in 1998 . The Museum of Artists set up by Ryszard Waśko and Wschodnia Gallery ( started in 1983 by Adam Klimczak and Jerzy Grzegorski ) represent the first independent galleries showing then ‘ other ’ art . They had a colossal influence on my development and later projects . Joint exhibitions during Construction in Process placed a firm emphasis on the process of art creation and on an exchange of thoughts amongst artists . Those actions represented the opposite to the commercial approach to art , where artwork is a form of product . All those mentioned above represented an important inspiration and motivation for me . An opportunity to exhibit works together with such artists as Dennis Oppenheim , Alison Knowles , Jessica Higgins , Charlie Citron , Sean O ' Reilly , Anna Macleod , Paul Panhuysen , Josh Selman , Erica Kneer , Suzy Sureck , Laszlo Kerekes czy Józef Robakowski gave me the drive to create a common platform for art creation . This is how the series of exhibitions came to be for example Marcowe Gody ( as part of Museum of Artists ), or later CamouFlash 2007 / 2008 . Those were my ideas and they allowed me to widen the ‘ field of view ’. I was able to confront my own actions with