Jarosław Filipek’s work is a unique example of process painting, in which the central role is played not only by the final result but, above all, by the very process of creating an image – time-consuming, physical, and often unpredictable. In his approach, painting ceases to be a tool for representing reality and becomes a testimony to the action, transformation, and reaction of matter.
The artist utilizes unique and unconventional materials that transcend classical painting techniques. His canvases incorporate metallic pigments, sand, epoxy resins, asphalt, chemicals, as well as industrial waste and recycled elements. He frequently employs techniques of oxidation, combustion, and layer stripping, as well as controlled chemical reactions between paint and solvents or water. Paintings are created through constant interaction: layer upon layer, sometimes destroyed and rebuilt.
In the spirit of process painting, Filipek’s work is not a closed composition, but a record of time and action – a trace of decisions, coincidences, and the physical properties of the materials used. The structures created by the artist are often organic in nature, reminiscent of erosion, abrasion, corrosion, or cracking of surfaces. The process of creation becomes more important here than classical form. A painting is not a product, but the result of the tension between intention and matter.
Filipek frequently employs techniques of imprinting, wiping, removing, and applying paint, which lead to the creation of rich, layered textures. His practice also explores time – some paintings take weeks to create, in cyclical phases of construction and deconstruction. In many cases, one could even speak of paintings “happening” – living in time, constantly changing until the artist decides to interrupt the process.
This approach to creation places Filipek in a movement that has gained particular significance in contemporary art – a movement where the process becomes the work, and the painting is no longer merely the end result. In this sense, his paintings allude to a philosophy of action, materiality, and presence – values that stand in opposition to the digital and unreal aesthetics of today.
Jarosław Filipek demonstrates that process painting is not just a technique, but an artistic approach—open to experimentation, unpredictability, and a profound dialogue with matter. His work reveals a fascination not only with the image itself but also with what happens between the layers—the hidden, often invisible movement that gives the image life.
