Landscape Painting.
My Landscape painting is mainly inspired by the beautiful and rugged nature in Ontario Canada.
I often begin my painting process by creating an underpainting with textured surfaces, mixing in ground gold leaf and other powdered reflective materials. This foundational layer serves as a backdrop against which the foreground planes are placed. It remains visible in the most distant areas of the composition, as well as in sections left uncovered by paint. The shimmer of the reflective elements is intentionally subtle, revealed only upon closer inspection. Their purpose is to suggest the ethereal nature of awareness—the unseen field against which the depicted scene unfolds.
I structure space within my paintings in layers, much like a theatre stage, but with an ambiguous placement of forms. This effect is further enhanced through the use of inconsistent lighting, unusual scales, and ambiguous spatial relationships.
Through this process, I explore the illusory quality of the physical world while simultaneously celebrating the beauty of the landscape.
Abstract Art.
In my abstract painting, I am interested in exploring the clumsiness and inherent instability of the physical world. I am interested in examining a simultaneous coming to be and dissolving of form. I find that a juxtaposition of these seemingly opposing movements can reveal a deeper underlying structural process capable of pointing to the illusory and transient nature of life.
In my work, I often seek a point of tension between representation and abstraction. During the painting process, I investigate and strip the representation of its “realistic” attributes, and the underlying structural mechanisms begin to reveal themselves. When successful, the tension within the painting creates an inquisitive form of silence. I consider a painting to be finished when it reaches that state.
Photography.
My most recent series of photographs explores the screen display as a transitional medium. The images presented on screens often compete with, and influence, our direct, primary experiences.
I photograph simple excerpts from seemingly mundane home videos found online. These images also capture the surface of the screen itself, including reflections and artifacts that are intrinsic to the “real” world — specifically, the physicality of the computer screen. Through this process, the work aims to challenge and question the trust we place in digital mass media’s representation of reality, inviting viewers to reconsider their awareness of the act of watching itself.
Dariusz Krzeminski 