Roman Lipski

Lipski’s painting appears, above all, to celebrate everyday visual experience and articulate a need to capture its ambiguous essence. One of the artist’s basic tools—a kind of artistic sketchbook—is photography, which tears an image from the deterministic grip of passing time for a fraction of a second while simultaneously becoming an immaterial emanation of the photographed subject’s aura. Lipski’s paintings are therefore the result of a collision between two media: painting and photography. His painterly sensitivity and free use of photography as a visual pretext—one that stimulates but does not restrict the imagination—make possible the pictorial effects characteristic of his paintings, increasingly phantasmagorical in his latest works and detached from a veristic perception of reality.