Adrian Kolerski’s artistic practice focuses on the processes and phenomena of transformation of senses and contents of paintings. It needs to be emphasised, however, that the artist defines a painting as a broad-ranging concept comprising the form of an image of an item, place, scene, memory, projection, reminiscence, or representation rather than exclusively as an artistic work.

 

The author pays a special attention to the issue of items and objects: material products giving the impression of unreality. He conducts analyses on the example of marginalised human artefacts, which are deprived of their identity and subjected to visual deformations. Items representing reality until recently and now abandoned or marginalised. Ill-suited to the existing environment. Being a certain tale of the physical traces of diverse realities: past, present, or future. Creations placed within the narrow space between the hard real world and a speculation about it. Often making use of their unrecognisable form and unknown history, he notices broad-ranging formulas with a multitude of identities, showing the potential to be something else, something more.

 

And so, the artist treats physical carriers as forms of intermediaries between a representation and a reality.

 

He transfers his observations about that to the artistic realm. The works are a physical record being a resultant of experiences, reflections, observations, speculations, associations, reminiscences, or representations. In the artist’s oeuvre, works assume the form of hybrid three-dimensional and painting objects: pieces of art bordering on various media. The effect is the lost explicitness of the works. This, in turn, highlights the self-reference nature of the pieces, which at the same time give the impression of “something familiar” without offering an overt representation or being a substitute for a given item.

 

The presented work assumes an abstract, subjective form, which lacks the information about its potential functions or properties. It is also difficult to determine whether we are dealing with a fragment of an item or structure or with its whole. The object seems to delaminate, decompress, or recompress, implying a continuity of the processes that affect it (including attribution or reduction of meanings). As a result of numerous metamorphoses, it becomes a dysfunctional object with an unclear intended use, thus giving rise to presumptions and creation of short-lived meanings.