2010 Andrzej Kałucki – PhD Professor at Faculty of Fine Arts Universitas Nicolaus Copernicus in Toruń

The world presented by Wodyński is not the visible one. His dramatic figures are illuminated by the nothingness of background as well as dark and vivid colours.

The artist destroys the physical clarity of his models by blood-red sweeping brush strokes and thus he annihilates their realistic meaning. The figures set in the centres of his canvases seem to elbow forward and proudly raise their heads or bottoms. They are however helpless in the face of their creator’s destructive force. The dynamic movement and bold track of the brush turn the painting into a soft and viscid surface.
It is the testimony of the artist’s impressions, deep restlessness and the process of discovering his own impulsive, untamed and individualistic nature.

Thus, it is justified to refer here to the “slaughtered Ox” ” painting by Rembrandt van Rijn, perceived by the Dutch not only as a form of still life but also as an extraordinarily strong means of expression. Similar expressiveness is also present in Francs Bacon’s works.
The proud and motionless silhouettes seem captured by a celluloid film frame. They are scratched, bitten, whipped and destroyed with colourful paint until they are altered into Magdalena Abakonowicz’s “Torsos”, merely made of red connevtive tissue and flesh.

The bold movements of the brush alter the living creatures – thus looking inside them resembles butchery.
Creating his works the artist indeed paints his own corporeal nature, as if Dorian Grey’s portrait, in which blood and paint never dry. It is the turpentine of his body. It is the anatomy of frailty of work and life.