In the second half of the 1980s, the artist’s interest in the material aspect of art began to dominate in the artist’s practice. A series of works was created in which he used soot, grease, zinc, gold, earth. They were built of simplified geometric shapes and, at the same time, extremely sensual surfaces, which were created from a build-up of soot, wax, pigment and varnish. The paintings, sparing in forms and colors, were characterized by matt, deep black and light-absorbing surfaces. The key feature of these images was the way of treating matter, their substantiality. Appealing to sensual perception combined them with the phenomenological orientation of minimalism in which “I express” has been replaced by “I perceive”.
Blue Lake Rough Path Green Sky, 1989, soot, pigment, pencil, varnish, glue, canvas, 80 x 60 cm
Double Blue Lake, 1989, oil, pigment, canvas, 132 x 102 cm
Man in the Night (to Barnet Newman), 1989, soot, gold leaves, varnish, canvas, 160 x 120 cm
Green Lake Along Blue Path, 1990, soot, pigment, oil, glue, canvas, 105 x 130 cm
Living Mind, 1990, soot, pigment, varnish, glue, canvas, 120 x 120 cm
Troublemaker, 1992, soot, pigment, varnish, glue, canvas, 71 x 80 cm
Red Rock at Dawn, 1994, , soot, pigment, varnish, liquid wax, canvas, 160 x 120,5
Red (Rock) Book, No 3, 1995, sadza, pigment, werniks, płynny wosk, płótno, 120,5 x 120,5 cm
