Tomasz Ciecierski 1945-2024

(...) The series of twelve canvases from 1982 represents a unique position in creativity of the artist, who usually resisted from showing himself, as he himself said, "marking his presence in a less obvious way: with photos in which only his legs are visible, and often only his feet photographed from above". It was only in the collages from the last two years that he included his image of the author looking through the window at fragments of his early paintings. At the turn of the 1970s and 1980s, several drawn self-portraits were created, each time treating the painter depicting himself in a humorous way: in the self-portrait with a brush, a fish or a still life. The painting series entitled Megalomania was undoubtedly an ironic riposte to the aestethic myths and megalomaniacal rhetoric gaining momentum in the 1980s. But this disenchanting the artist's myth in the self-portrait divided into twelve versions also had a self-ironic dimension, convincing the credibility of the creator, who with a humorous distance has been portraying himself as a painter.