The discrepancy between materiality and abstraction, between practice and theory, is one of modern culture's hidden tensions. Increasingly often we mistake our ability to talk about things, as the ability to act. This trait of contemporary culture and the primordial quality of our mind (evolved over millions of years in the savannah) to provide a simplistic comic picture of the world, are responsible for our addiction to never-ending synthesis and conclusions, and then conclusions upon earlier conclusions and borrowings. We deviate from direct experience and the analysis of raw unprocessed data.

Tymek Borowski's paintings attempt to reverse this process and propose another strategy of looking at and understanding the world. They collect pieces of informa- tion before they are interpreted, before they are organized and verbally categori- zed. They are the sum of different decisions before they are evaluated and simplified. They remind us that objectively the world consists of elementary particles. Hence the density of the elements in the image and the equal treatment of details. Man is a collection of all and different motivations, of random events that have shaped him. There is no center, nor core. Accepting the complexity of phenomena does not enable searching for their essence.

The point of totalitarian thinking is to demand logical, literary, verbal consistency, a transparency of beliefs. In contrast, an image that expresses the complexity of phenomena does not pursue coherence and is anti-idealist, has nothing to do with intrusive didacticism, but instead naturally suggests a departure from populism based on stereotyping, clichés, manipulation of ideas, and polarization of attitudes.

Tymek Borowski's painting, created with the awareness of digital imaging techno- logy, is inspired by modern digital media, the pursuit of super resolution, edge sharpness, emancipation and plurality of detail. On the other hand, it focuses on matter, i.e. the area where painting has a decisive advantage over digital techno- logy. In 3D graphics "realism" is achieved through deliberate "staining". We instinctively feel that dirt and any irregularities or imperfections are the distin- guishing feature of the real world. In this context Borowski's paintings are an affirmation of materialism and realism – the dirty, coarse and tangible reality in which we live.

The paintings presented at the exhibition come from the series "Objective reality. Study of the material world." The project is supported by a scholarship from the Minister of Culture and National Heritage and is co-financed under an artistic scholarship from the city of Warsaw.