Silesian Museum 2025

My Planet is a world I created out of a deep heart's need, to escape from a reality that sometimes frustrates me—because I don't know mathematics, linear time, or money. But on my Planet, I am the Demiurge. I establish my own rules, and I bring my heroes to life—heroes who, in my dreams, turn to me and call me "Father."

Following the journeys of my art through Wałbrzych, Strzegom, Prague, Warsaw, and Kraków, it was time for one of the most prestigious and symbolic events of my path. My work was welcomed into the Silesian Museum in Katowice for the landmark exhibition "Talent, Pasja, Intuicja."

Exhibiting in Katowice was a monumental experience. Staged within the unique subterranean layouts of the historic Bathhouse (Łaźnia), the exhibition presented over 200 masterpieces from 100 creators.

My wooden carvings stood side-by-side with legendary Polish and global intuitive masters, including Nikifor Krynicki, Teofil Ociepka, Erwin Sówka, and Edmund Monsiel. This served as a profound fulfillment of my lifelong dream—to be validated and respected as a peer by "real artists."

The chief curator, Sonia Wilk, visited my backyard atelier in Szczawno-Zdrój twice. Driven by her profound fascination with the paracosm, she granted me a dedicated standalone pavilion. Statistically, my work occupied the largest volume of space in the entire museum-grade survey.

Inside my dedicated pavilion, I chose to show only one, but my absolute most challenging cycle: *The Apocalypse*. This monumental body of work, on which I have labored relentlessly since 2021, currently spans approximately 100 objects.

For me—a man who operates entirely outside calendars or clocks—the concept of the "end of time" is an abstraction. Therefore, my Apocalypse has no end. It is a permanent state. Following the nuclear bloom, a void remains, but in this void, everything continues as if the cataclysm still hangs suspended in the air.

Here, survivors fight a desperate defensive war on two fronts:

• Malignant Cyborgs and Machines: Mechanical terrors dispatched by a ruthless AGI seeking total human extermination.

• The Evil Spirit: The absolute incarnation of dark forces directing hordes of demons and post-atomic mutants.

Yet, a beautiful cosmic law remains: humans and benevolent spirits stand together as absolute allies, uniting to survive and enforce a sovereign, moral justice.

My wooden sculptures and obustronne paintings are born in dust, in the sharp aroma of scorched wood, pyrography, and heavy lacquer. My backyard atelier—"The Shed"—is my sanctuary, the only place where I possess absolute control over my reality.

My brother Maciej, who curates my universe and translates my chaotic patterns into structured narratives, did something extraordinary at the Silesian Museum. In arranging the pavilion for *The Apocalypse*, he physically reconstructed the dense, tactile sensory atmosphere of "Szopa 2" (my outdoor exhibition cottage).

This spatial transposition allowed the workshop itself to become an organic, touchable component of the artwork. Visitors could physically step inside and breathe the raw environment where I live and carve daily.

Through my *Apocalypse*, I wanted to deliver a crucial warning against blind technological progress and heartless artificial intelligence. More importantly, it stands as a loud manifest of tolerance.

My outcasts, though scarred, distorted, and covered in deep burns, are not monsters—they are the victims of the real world's monsters. They bear the heavy trauma of exclusion and violence, mirroring the experiences of my early life in special education.

Observing the visitors in Katowice—who wept in deep empathy over the fates of my characters, only to laugh and find joy moments later—confirmed that Art Brut holds a massive, healing power of pure *catharsis*.

The exhibition was organized as a highly prestigious, collaborative milestone between three principal Polish museums, referencing the historic research surveys curated by Poland's most eminent researcher of non-professional art, Aleksander Jackowski.