In Tomasz Kowalski’s new works, central aspects of his earlier oeuvre come together in new groupings. Kowalski continues to call into being a world of miniatures that take on a resonance far beyond their scale; he continues to open up glimpses of a parallel universe, an inner life of things, an organic world, composed of wooden, profoundly matt intertwining colours, beneath the surface of which a “night of reason” (G.W.F. Hegel) seems to be concealed. (…)
Whilst recently his sculpture was in a sense a transposition of his paintings, it has now evolved into an opposing force, in which a fragment of hair or even a leg wells up out of wooden frames. Kowalski’s figures, frequently evoking danse macabre motifs, thus find their niche within the history of Western European painting since Pieter Brueghel, in which the dance of the dead and charades have repeatedly served as the starting point to discover new irreal worlds, a process that in the 20th century ultimately assumed dense creative form in surrealistic corpora (…) .
Auszug aus Pressetext /From press release carlier l gebauer, Berlin September 2009