Artists

Piotr Bosacki

Press release

Between a precise record and everything that grows out of it, there is a gap through which chance, vitality and life force their way. It is this fracture that Piotr Bosacki focuses on. The exhibition Retina and Parquetry presents works by the artist in which this is particularly visible. Bosacki is a constructor who designs rigour in order to catch it "red-handed" as it transforms into nature, error and matter slipping out of control. He formulates a precise instruction and then observes how the programmed order begins to stutter, deviate and take on a life of its own. The exhibition presents two distinct bodies of work: the first, the animated film Retina in Vitro, which combines a poem of Talmudic construction read by the artist with a visual layer created using 3D printing; the second, geometric compositions from the Serial Parquetry series. Both grow out of a similar conceptual framework: the conviction that order and chance are not opposed to one another but that one organically gives rise to the other. The retina appears here as a boundary figure: a place where abstract record is clothed in matter. The eye not only registers the world but also creates it. Bosacki reminds us that this process occurs within us spontaneously: it is "digested" by the body before conscious analysis comes into play. The artist subjects this very primal experience to a laboratory dissection. In turn, parquetry – a pattern, a mosaic, a score – is an attempt to reconstruct what the eye has produced: a visual orchestration in which geometric modules behave like sounds in a musical composition. The artist designs these structures so that from the "small seed" of a short algorithm, forms resembling living organisms grow: born rather than created, grown rather than built. Both series are connected by a Mickiewiczian nerve: the tension between "the glass and the eye" and "feeling and faith". It is the space between rational cognition, which measures and classifies, and the presentiment that precedes proof. Bosacki treats this rift not as a dispute to be resolved but as a necessary condition for creation. Reason and intuition do not work against each other here: the precise recording serves as a scaffold that the artist intentionally subjects to a controlled failure so that a living, extra-rational quality might shine through. When plastic filaments from the 3D printer wander outside the vector-calculated path and phase shifts break the symmetry of the parquetry, the mechanical nature begins to pulse with an expression characteristic of living organisms: faces, plants and bodies in which it is precisely a slight imperfection that draws the eye. Beneath the surface of the exhibition, a question resonates: was the common logic that connects these works invented or rather discovered? Did we encounter it as we encounter our own bodies – involuntarily and without much choice? Perhaps the role of the artist consists not so much in providing an answer as in setting up the apparatus and waiting patiently, allowing the question to work for longer than the answer lasts.