The latest paintings of Tomek Kręcicki depict food. But not only that. In them, we can find images of a coconut, a potato, an apple core, a pill, and matches. It is a strange collection. A collection created based on unclear premises.
There are certainly visual values among them (including some that are quite specifically defined: bulbous shapes, toned colour scheme) and banal origins (in the company of the rest, the coconut’s strangeness is almost shocking). Kręcicki is a realist. He, therefore, reaches for objects close to him – kitchen objects – but he chooses them with a sense of humor.
Each of the objects, most often portrayed in a central composition, acquires metaphorical meanings – all the more so because Tomek subtly manipulates context and scale. The potato emerges from the darkness like a meteorite, the pill rests on the screen of a phone, and the core forms the axis of a gloomy landscape. These studies of the subjects are not neutral but lined with narrative temperament.
What else connects the elements of the collection, except that they are mostly conveyed from the table to the mouth? This is – surprisingly – an extra-paint aspect: a sound aspect. Kręcicki, unsatisfied with the two-dimensional representation, perversely chooses an intangible element for the subject of the exhibition. Knocking, clicking, rumbling, biting, swallowing – the sounds of eating.