As I was learning to speak, I was also scribbling wherever I could - my mother used to tell me that. Whether it was on tablecloths or walls. But I had this need to master it, to be able to do it, to keep drawing a lot, my own ideas that I was only beginning to expect. However, I was always interested in humans, the human body, what humans invent, the different mechanisms, toys, how they invent their needs. That's probably the subject of my paintings. This painting is not completely intuitive. The foundation, the starting point, is always drawing, a drawing that can be, but doesn't have to be further developed, that is, painted, filled in. I want to see the idea I've drawn in space and color. It's wild painting, fast, expressionistic.Painting presents me with a strange difficulty, it's a kind of overcoming. I often approach it like a hedgehog. I immediately dive into drawing, it doesn't give me such problems. I'm also very interested in textured painting, using different materials, but I don't do that. Maybe someday I'll engage in something like that.I'm also very interested in sculpture. I even have a ton of clay in the basement, but I always put it off for later. I would also like to truly explore how an idea, a figure, those figures, those faces I paint would look in space, to precisely study their anatomy, to build them without looking at anyone's face, without any reference photo, but to try to extract it from within myself, to find it within. I would like to explore my thinking about colors and try to think about sounds in the same way. To convert colors into sounds, to see how colors truly play, what sounds colors have. ****** Interview given in 2008 ****** 


Sensations are private, brain processes are public. (J.J. Smart

I will construct a secret cube - the gates of hell or paradise - depending on how the delinquent opens it, it will set in motion and activate whether it results in an earthquake or the choral singing of madrigals in the main nave of the cathedral of time, or it will open up a seemingly enticing abyss but then reveal itself as a trap of the vice of crushing emptiness, shattering the vacuum broken by nothingness, a coma of nonsense - all accompanied by the chorus of bloodthirsty babbling of succubi and incubi and other masqueraders.

As assistants to Beelzebub himself, in yet another combination, the cube will lead to a state of the Buddha observing the self-devouring Siwa during the last supper held to commemorate the creation of such a state - thus, feedback loops and time loops will occur, resulting in various simultaneous outcomes. Oh, the existential pain that reacts with the essences of our existence and throws off the salt of the earth, that earth! (June 2016)

Marcin Tomaszewski (born 1971, Toruń) * Tomaszewski's paintings immerse the viewer in a magical world. The viewer's imagination may be subjected to a great shock as the author's metaphysical visions border on the absurd. The author contemplates a woman who seeks further continuity in the constantly evolving existence. Tomaszewski studied at the Department of Painting at UMK (Nicolaus Copernicus University) in the studio of Prof. Mieczysław Ziomko in Toruń. He has participated in several solo and group exhibitions, both domestically and internationally. *Source: desa Unicum.