Plein air painting

I attach great importance to the process of seeking out, analysing and drawing on direct inspiration when plein air painting.  I surrender my senses to the landscape I am presenting, when the aura truly moves me. I look for situations with an aura shaped by nature, place and culture. I seek inspiration and follow it.

I have a need to be in contact with nature, feel the temperature and the mood of a place on my skin, and experience its scale. I need undisturbed contact, alone; I find solitude in a grey hour, and go out in the open air in the mornings and at dusk. These times are like breakthroughs in the day:  uniquely flowing spectacles that impel impressionistic sketch work.

Mornings come as expected and rush toward forenoon. And the earlier they are captured, the more timeless they seem. Dusk is always too brief, while ominously heralding the end of work.

I like diffused, blurred light, softened by mist and covered in clouds. I do not play at chiaroscuro in my paintings. I am interested in timeless tranquillity. I look for perspective in the air that separates me from the closest plane on the horizon. The more I have around me, the more deeply I can breathe it in.

I don't think I'm limiting my colour range. My compositions coalesce into monochromatic groupings. The whites and greys on the canvases are the effect of combining many hues. When they coexist together, they stop screaming with colour; they stop being literal.

The truth of the message is important to me; I avoid photographic sketches. I feel strongly that as a painter I should avoid what is typically considered picturesque:  those are phenomenally beautiful but visually banal. I need to feel the direct flow of inspiration from the landscape to the canvas -- and I hope that the viewer will also receive this message.  It is a pleasure to create a window through my work, with a view of another world.

You can see the pictures from the open air in Białowieża and from the Masurian village in Łęg in the Winter of 2020, here.