In Stillness, 1997

The advantage of art over other forms of consciousness is such that art is not concentrating on any particular problems, and its myth is made by the desire of grasping and penetrating of Everything that is being made for the price of reduction the 'Ego' to an undimensional point. This resignation is a very difficult and long lasting process, but it is the requirement and the aim of the artistic activity for me. Cultivating an art is not similar to building of a very comfortable home to protecting one from the unfamiliar, indifferent world - it is a creation of that kind of Form, which penetrates and embraces the World as a whole. An artist is a hole inside the infinite continuum of time and space without inherent values. Therefore the output of any contemporary artist should not only belong to the art of the twentieth century but should go beyond it. The artist is aiming the telescope of his art into the space, and what is obvious, into the future time. At the same time, setting out into the culture's past, he is treating his art. as an envoy into our cultured mind, where the goal is to discover the source of the authentic cultural energy, significant for us - contemporary people. My works of art are made from various materials, such as metal, fabric, electromotion, projection and the like. I do not use any ready -made objects. In years 1994-1995 I was using a steel rod making it draw spatial forms. I was interested in the idea of transparency of form, interpenetrating of pictures that were complementary one to the other and equally were loosing themselves making a new quality. For more than a year I have been using projection of prepared slides, having quality of a drawing, made from different kind of foam;shaving-cream, lather, beer and also from dust, scraps and another organic substances. In 'The Cradle' I utilized also projection of short animated films, founded on my outlines. This projection should give the effect of changeability and of certain unpredictability. In every case the created object is a vehicle by the means of which we are traveling in time and space.
In 'The Earth ship' project, I am invoking the idea of that cosmic homeship that allows me again "put the Earth into the Cosmos'', great and probably indifferent, where we are "transparent" quests, as unaccountable as entirely accidental. The project relates to the idea of inhibiting the earth in relation to the time and space in the global aspect. There is new aspect in my artistic "investigations" in this project where nature, by it's indeterminate powers "creates" symbolic concept of time, where time and space is infinite, boundless and discontinuous. The project should be realized in an open, unurban landscape so whole globe space in a little more evident way will stay under influence of an art message. On the other hand I think it's important for the man to set himself free from the involvement in the psychological concept of time, that in general, could be one of the main "goal" of art. Another objective, could put emphasis on the unity of the Cosmos energy, which man is a part of as well.
At present I am looking for a form that would provide for much more unpredictable things to happen because I think, that any work of art should be a discovery equally for the artist and for the receiver. What is most precious always comes from the most unexpected side. The artistic consciousness in our times broadens itself into all directions -it is almost infinite. There is no Absolute, or no another steady point in art. The art is partly an elusive dream, among other things because it is a trip of Mind into the unknown, and the more unknown, the better. It means the readiness of the artist and the receiver to make a discovery of the fundamental quality, some kind of unknown primeval energy of cultural life, owing to which the life is regaining the power and the glamour. Vector of Art - the discreet and hidden direction in which the mind makes its way.

Adam Kalinowski 1997
(TEXT FROM CATALOGUE " In Stillness", Arsenal Gallery, Poznan, Poland 1997).