Mikołaj Jackiewicz - essay
The most striking feature of Jackiewicz's painting is his handling of color and gesture. His paintings are described as a "spectacle of expression and colors," in which hues "vibrate," and brush strokes are dynamic and irregular. This "vibration" is not accidental – it builds visual and emotional tension, compelling the viewer to engage actively.
In works such as "Flowers" and "Flowers in the Wind", contrasting color combinations dominate – reds, greens, yellows – creating an almost organic chaos that resembles the living structure of nature. However, this is not about a realistic depiction of plants, but rather capturing their energy, movement, and variability.
In this regard, Jackiewicz continues the tradition of gesture painting, where the painting is a record of action, similar to Jackson Pollock or Willem de Kooning. However, unlike them, he does not completely abandon references to the depicted world.
An important element of his work is also the diversity of techniques. The artist works in oil, acrylic, and mixed techniques, also using pastel, marker, or varnish. This multiplicity of means translates into the texture of the paintings – often dense, multilayered, almost relief-like.
The work of Mikołaj Jackiewicz gives the impression of constant movement – as if the painting were never complete, but rather in a state of becoming. Looking at his pieces, it is hard to shake the feeling that we are not viewing a final product, but rather a record of gesture, a trace of emotion, a fragment of energy captured on canvas. This painting does not so much depict the world as it experiences it – intensely, almost physically. His work fits into the current of contemporary expressionist painting, where the intensity of experience and the energy of the act of creation are more important than a realistic representation of the world. Analyzing his works reveals a distinctly shaped visual language that balances between abstraction and transformed figuration.
The materiality of the painting becomes as important as its composition. The paint builds form. In this sense, Jackiewicz approaches the tradition of matter painting, represented, for example, by Jean Dubuffet.
Color in Jackiewicz's work is not a means of description, but a language in itself. It spreads wide, pulses, and collides with other colors in tensions that resemble natural phenomena more than an ordered composition. Reds seem to simmer, greens breathe, yellows burst forth like light filtering through leaves. In these paintings, nature is not depicted – it happens. Motifs of flowers, trees, or landscapes appear like echoes of reality, but quickly dissolve into the painterly element, losing their literalness in favor of impression.
Jackiewicz is intense. His paintings are not a calm observation – they are rather an entry into the heart of the phenomenon, a dive into its intensity.
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