My oeuvre is a reflection of the sense of transcendent quiet experienced only in the natural world. The primary subject is the power of earthly beauty, whether it is a study of the textures and patterns of the metropolis such as Urban Patterns. Other themes include landscape and natural form, the icy beauty of ocean and lakes, or a recording of our often-destructive mark on the earth such as the Plastic photographs. In every series, I engage with the constantly changing sense of light, form, and patterning found in the flora, sky, sun, snow, ice, the ocean, land, rock, and sand.

I am interested not only in capturing my own intimate experience, but also requiring my viewer to reimagine his or her relationship with the natural world. Perhaps, at first, there is an attraction to the crystalline echoing of light and land, water and texture, but then to the independent dance of nature, the choreography of wind, a place that exists without humankind, a simplicity of great ecological and spiritual significance.

My formal training includes photography but also painting, stone, and woodworking as well as photography. These disciplines have allowed me to approach surface, material, and pattern in a new and engaging way, displaying the diversity of the natural world in my photographic work depicting an encounter of self with beauty. I wish to achieve a sense not only not only of monumental scale but also the power of natural beauty and form, and to this I have increasingly focused on the large prints series using a digital medium format Hasselblad.

The great diversity of climates, flora and fauna and landscapes is a source of constant inspiration. From the wintery environs of Norway to the oceanic beauty of San Francisco, Mexico, or the robust sunshine of the Mediterranean island Mallorca my outlook and technique is constantly changing and evolving. Today, I work and live on Oahu Island, Hawaii, where local culture emphasizes the value of the natural world, and the beauty and power of the ocean.

Today, much of the work bears witness to the enduring strength of nature, and as such has an underlying critical current, allowing the viewer to engage in self-awareness, to disengage from media, from the demand of the 24-hour device.

Within these monumental sky views, landscapes and sea images, I seek an expressive simplicity that reflects an intimacy of experience, a communing with nature, perhaps a contemporary experience of the artistic tradition of the natural sublime.

The schematic simplicity of the compositions is linked in some ways to my own early experiences, such as my time as a child growing up post communist Poland when resources and opportunities were scarce. One had to make do and create with whatever resources were available. Without distractions or too many choices, my journey began quite simply with my first camera a 35 mm Kiev camera and home dark room. This simplicity has carried through to my mature practice that seeks to communicate a refined, contemplative sensibility of the natural world while also offering a deeper level of meaning, such as the importance of nature to artistic creativity, humankind’s well being and sense of self, as well as our increasingly alienated relationship to the earth. Today my practice expands on these ideas of distillation and reconfiguration, specifically in my Plastics landscape series, and the Urban Patterns, where elemental configurations and pairings make for a new vision of the observable world.

Urban Patterns is an ongoing photographic series responding to the uniform appearance of the modern urban horizon line. In these reimagined views, geometry is layered with areas of transparency in an assemblage of hand-selected pairings. At first, the images appear to be identical, but upon closer examination, one sees that the artist has created a set of newly unique patterns. Large format photographs of the monumental skyline are taken apart and reconfigured to create a fog like image. This mosaic like group of images is reminiscent of modernist textile design, a sort of interlacing symmetry with asymmetry. Remarkably, these unique collages are made using one primary image –a one horizontal semi-panoramic photo.

This group of works meets at the intersection of staged and spontaneous photography and functions as a commentary on environmental issues and the long-term effects of waste and non-biodegradable materials. In these photos, plastic (that everlasting man made product) meets the elemental.

The photographs capture a battle between the natural order and man’s discarded materials, and through the velocity of wind, rain and water, the plastic seems transformed into ghostly supernatural beings. Constantly changing and unpredictable forces of wind, water, and light form unique photographic scenes, making the plastic dance in a strange choreography. This lack of pictorial control means there is a certain creative energy, which is essentially in the moment, and irreproducible: “Plastic interconnects with the motion of ocean, wind and waves producing unpredictable effect. Wind plays a huge role, as well as reflection of the light in the plastic.”

A grandiose contemplation of the fate of our earth, these scenes of plastic emblazoned across pristine natural views are a metaphorical imagining of our future, a world taken over by waste.

This collection of landscape photos captures the vast ecological diversity of this region. Using contrasts of dark and light, monumental space and the most bucolic of scenes create a lyric sensibility, the sun, mist, greenery and weathered space creating a moment of utter stillness, a rendered beauty that seems forever distilled in the black and white print.

These long exposure photographs celebrate the extraordinary island landscape and surrounding environs. In photos that appear equally expressive and impressionist, dramatic mood is achieved through the play of dark sfumato with an iridescent fog of a tropical condensation and water. Works like Hawaje symbolize the artist’s deep connection to the island, the symbiotic way of life that merges daily activity with the astounding environment.

Mini Hawaii is a short video made using two techniques –the first, the cinematography time lapse method – each frame is shot at a slow speed, and when the film is viewed at a normal rate, there appears a quickening of time. The second method is the use of a tilt shift lens from a high angle, which in turn produces photos that appear to be miniature models. A short film of cinematic color and engaging storytelling, Mini Hawaii is a bird’s eye view of the densely populated, succulently beautiful tropical island.