Piotr Bosacki believes that the artist’s time is never wasted. Even after months of ostensible dormancy, the artist’s brain may surprise them with an unexpected idea, as it is constantly working in the background. The concept of such a “click” is not purely theoretical – it is embodied in the Bosacki’s work. Systems and mechanisms that Bosacki constructs are meant to increase the likelihood of a non-obvious phenomenon and induce nothing else than a short circuit, coincidence, a jest.
Julian Heynen emphasizes the significance of the Bosacki’s confession, in his “Traumtagebuch”, where he describes his ritual of walking around the football pitch while a kid, “for the brain to secretly do important things”. Similarly, Bosacki’s works are in constant motion, resemble planned escapades, are almost adventurous – except that they are minimalist and the events they provoke are purely intellectual.
Drawings from the “black workbook” are reminiscent of a walk in this exact sense; they are a result of improvisation in specific circumstances and devoid of specific purpose. Similar to Bosacki’s previous work, they are also reminiscent of experiments of Oulipo, fascinated with mathematics, mechanics, and various formal constraints. Some of the drawings create complex loops, resemble a maze or – indeed – a walk’s route looked on a map after returning home. Some result from simple operations – cutting, gluing, collating and matching. Grids of different origin are arranged in aesthetic compositions, and paper strips of notebook paper, glued along each other, show that notebook centimeters are uneven. The modest nature of these works does not obscure the spirit of Bosacki’s art – his praise of willful thought and accidental discovery.