Apoloniusz WĘGŁOWSKI b. 1951, Composition, 1988

Space, light, color - it is difficult to point out which issue dominates Apoloniusz Węgłowski' s paintings . Each of his paintings is a story about all three elements . Mentioned out of context, they may come to mind quite traditionally, after all, these are the fundamental problems of painting. However, if we talk about them as constituent motifs of Apolonius Węgłowski's work, they become synonymous with the painting avant-garde.
The artist always titled his works the same way - "Compositions" did not suggest interpretations or authorial ways of reading the paintings. Thanks to this, among other things, Węgłowski welded them together in the creative process in such a way that it is now difficult to talk about them in isolation from each other.
For Węgłowski, the relationship with the viewer is particularly important. "Compositions" formally evolve depending on the distance the viewer assumes in contact with the image. With its gradual increase, some of the mentioned elements reappear or gain a completely different meaning.
In 1987, in the book "Creators-Posters. Artists of my gallery." Bozena Kowalska wrote:
"This background space is deepened by small and various forms, from small triangles and shapes associated with pennants, through blades like slender arrowheads, to irregular ni zigzags, ni serpentines." Indeed, one can see the author's specified "forms of openwork obscuration on the very surface of the canvas or records of wave phenomena from the field of physics." Some viewers would probably look for associations with American op-art. But attempts at comparisons, descriptions of this work, distract from what the artist himself said about his painting: "only the metaphysical moment creates the painting."