The One | BWA Zielona Góra | 2006| Rasin monolith, oil on canvas, and video.

There are meetings that set our understanding of (fragments of) the world in a completely new light. Maybe they don’t reevaluate, but they allow you to look from a different angle. They open their eyes to the facts that until now were hidden behind the facade of appearances, easy judgments and stereotypes. They give the opportunity to discover previously unknown spaces of thought. They are invigorating. Meeting with Michał Slezkin, his way of thinking about art, was such an event for me. Even if it is possible to separate creativity from the artist, in his case it is both difficult and unnecessary.
In the artist’s studio rests an object, shiny, like transparent, reddish, monolithic. The excess of adjectives is only an expression of the powerlessness of the description against the mystery of this thing. What looks created for a completely unknown purpose. Which may even live or come alive. It is inaccessible, undefinable, it is. It evokes associations with secrets from favorite movies that can be watched many times and without weariness. When I looked at THIS, the Wittgensteinian wisdom stubbornly came to my mind, “What you can’t talk about, you have to keep quiet about.”
The red from the inside of the monolith, appearing in Slezkin’s paintings, in two constantly repeated motifs, brings to mind organic matter on the border of decay. I don’t know again, I give the floor: Dorota Monkiewicz wrote, “Slezkin is a tender, subtle painter, and also a person with great internal integrity. I think he deserves a credit of trust in his instinctive actions, whose premises are difficult to define a priori, and the meanings are always delayed. It is not Slezkin who describes his art, but his art is gradually being discovered. “(EXIT, nr / 2005).
And there is also the “State”, an unusual project initiated by the artist’s father as an idea of ​​a utopian state, continued together and now reconstructed by Michał as an artistic project. The world is as much a reflection of the real as it is in its time a kind of escape into the elegance of pop culture mythologies. The paper society is still waiting for disclosure, likely because Michał Slezkin surrounds them with tender care.
Slezkin also works in the matter of film, where image meets sound, he is inspired by those films where the most important is an understatement, largely taking place at the interface of shapes and music.
The world of an indefinable mystery, the inability to brighten dark red, the inexplicable painting gesture route is not a painting paradise of “seeking the ideal form.” Little is known here, so it might be better to be silent.
Meeting with Michał Slezkin (I do not consciously write – with creativity) is a pleasure from the genre of selfless situations in which we give each other potentially possible discoveries of new lands. But this does not have to happen. Potentiality is the most important here. And everything depends on everyone.

Cheddar Nahu (aka Wojciech Kozłowski)

Zielona Góra, January – February 2007