2022 Martin Scott – art curator, L.A.M. GALLERY London

Wodyński unmasks reality revealing a truly Orwellian vision hidden under the surface of appearances. In his projects, artist strips the viewer from the remnants of dreams, revealing the apocalyptic shape of the world, where the man is no longer able to decide about himself and undergoes the overwhelming external forces.
Through the language of his speech, Wodyński reaches things that are uncomfortable, seemingly marginal, but, as it turns out, extremely important for the world of human thought. Artist doesn’t avoid controversy, but also does not try to force it by using very balanced and thoughtful tactics. He selects them appropriately in relation to the concept, changing techniques to accumulate the effect of the strike. However, due to the approach and technical proficiency, it maintains its own individual character.


2022 Aleksandra Bartczak – fine art restorer, NATIONAL MUSEUM Warsaw

The working methods adopted by Wodyński require from him absolute attention, organization, logistics and precision at various stages of creation. Both the idea and the process of forming the work as well as the way it will sound on the viewer are important here. The artist usually precedes the multi-stage work with sketches and concepts, physically drawing each element.  However in the artist’s profession there are a number of routine activities that over time can become monotonous and inconvenient for the artist himself. The old masters hired journeymen to make the initial assumptions and even complete the work. Wodyński wants to have a complete influence on the effect of the realization. It’s extremely surprising how easy he switch from one medium to another, the smoothness of this transition and its connection with each other. For this reason, it is difficult to classify its actions unequivocally.
The artist with a subtle sense smuggles elements of painting into the world of installations or video art into the world of sculpture, often synthesizing them in one object. The interdisciplinary nature of Wodyński’s art includes many techniques, from digital, multimedia to classical, based on the secrets of Renaissance and Baroque artists. Expressive sculptures, combined with modern electronics or screens on which video installations are displayed, take the shape of hybrids that define new fields of experimentation. As a consequence of the artist’s work, unique and unrepeatable forms are created that are a condensation of his idea of “the totality of art”, the interpenetration of even its seemingly contradictory areas.


2021 Michelle Adamczyk – director, GALERIE G Paris 

Art in the context of a product of thoughts can meet extremely opposing feelings, evoke all kinds of disgust, embarrassment or consternation. It can strike by asking uncomfortable questions, delight, irritate or sooth.
In the case of Wodyński’s works, the possibility of the occurrence of contradictory reactions of reception does not result from the artist’s incompetence or incompetent articulation, but from the complexity of the world he created. Taking a closer look at the artist’s attitude, grounded on the “no future” ideology and the off-radicalism, Wodyński fills his life with creation with courage and premeditation, and consciously sets an uncompromising path of his own catharsis. It illustrates fears, obsessions and a very insightful anatomy of human emotions as a response to alienation from the cold reality based on mathematical calculations. The work of this artist flows from the world of marginal underground art, standing in opposition to large mainstream centers. It is not a factory product, a puppet voice of art dealers, or a bubble of speculation. It is from the beginning to the end an idea of ??the artist, a trace of his hand and a record of his personality. Perhaps it is for this reason that each individual work, each object that comes out of his studio is small micro-worlds of feelings contained in the plane of the canvas, sculptural form, performance or video installation. Wodyński’s sensitivity is sometimes shocking, evoking extreme feelings, as is the case  in performance “Manifestations” or the series of canvases “Human Light”, and about the strength and demand for the artist’s work are not evidenced only critics but the viewers looking into themselves through radical works.


2021 Tadeusz Krajewski – critic, publicist, CENTER OF ART in Bydgoszcz 

Damaged human heads with protruding processors, frayed cables, connected to used smartphones, or hands emerging from under the surface “Fuck The Future” installation, pointing at the observer with their fingers – accusing, submissive, but also warning against the specter of a catastrophe – strike in with their intensity the most tender recipient’s sensitivity points.

Equally shocking, even overwhelming are painting compositions “Selfies”, in which we see people with a lost identity, resemble digital errors rather than people. In his project, Wodyński creates an altar of contemporary culture, the center of which is a large-format pentaptic entitled “Show” – here the host is replaced by a packet of chips, and the tabernacle is replaced by the installation “Roast”, showing the brain and heart overcooked in golden goo.

In the space of the exhibition, Wodyński shows the brutal degradation of spirituality caused by ubiquitous technology, over which we have already largely lost control. The artist rejects the naive faith in the miracle of human resurrection, revealing the dystopian nature of our reality – undoubtedly post-anthropocentric.
The posthuman world continues – but we cease to exist …

However in every sculpture, in every painting, in every installation, the creator has encoded the spiritual beauty of the individual, a beauty that is culturally difficult to discover, requiring self-cognitive effort. For Wodyński, it is the only path leading to the reactivation of humanity, each other leads to the world of never fulfilled dreams.


2019 Małgorzata Tarkowska – art curator, DWORZEC ZACHODNI GALLERY Toruń 

The space of the gallery resembles a garbage dump with the most terrifying waste of modern times – human. The recipient is marked with a barcode. It becomes a product and symbol of consumerism. Human voices in the sound installation become more intense. They aggressively surround the viewer in the claustrophobic space of human conversations. The artist creates a disturbing, almost post-apocalyptic world with which contemporary people struggle.
The title painting composition is filled with a crowd of convulsive figures, interpenetrating, vibrating, full of tensions and dissonances. Human mass is chaotic, but not impersonal. Individual characters stand out by existing as separate, lonely beings. Among the bodies there are unreal shapes, deformed or fragmented. Man is partially deconstructed, resembling a phantom or a bloody piece of meat. The composition is complemented by five expressive acts emerging from the fog of cool colors. The characters are in constant danger. On the one hand, they are transformed, and on the other, paradoxically, they remain lethargic between reality and nothingness. They freeze as if trapped in successive layers of thick paint.
However the chaos of existence can bring a new beginning. During his performance, the artist symbolically marks the face with white paint on a makeshift rostrum, through the symbol of anarchy referring to punk trends. It manifests salvation through a return to fundamental values. It is a radical call to save the empire of primordiality, what could be called the meaning of humanity. Wodyński deconstructs chaos, showing that chaos can be an impulse for the birth of metaphysics in the world of Bauman’s postmodernity.


2019  Álvaro Sánchez – art curator, S GALERÍA DE ARTE CONTEMPORÁNEO Madrid 

The artist’s work goes far beyond the object he presents. It is an interesting phenomenon in the context of dynamically changing trends, fashion and tendencies in post modern art. He even seems to ignore them and it is thanks to this mechanism that he exposes the devastating transformation of reality, embodying post-humanist ideas on the threshold of the new Millennium. Reaching for the study of the model, Wodyński seems to be looking for something immaterial, something “on the other side of the mirror”. Deep tenebric light and dynamic streaks of paint flowing through the meat determine the weight of the path that the artist travels to reach further than what is known, with which European civilization identifies.


2013 Barbara Szal-Porczyńska – painter, publisher

Art without emotions is only a dry copying of reality. Passionless and empty imitation, which does not reveal a specific author’s hand. Through the arts artists want to express them selfs, show they feelings whether in the form of individual lines, the intensity of staining or content presented concrete.
Ambivalent feelings have certainly person looking forward to the work of Łukasz Wodyński, who moves the humane existance, describing in the expressive way lonely, naked figures frozen in poses that suggests despair consuming them (“MONUMENTS”, “HUMAN LIGHT”, “Machinations of Dementia”). By running some processes associated with physicality shown people are frightful, even despite some of them – especially the “EXZISTANCES” faces does not express the pain – on the contrary – they seem to smile. However the characters look like someone stripped them from the skin and thus clearly show the futility of existence and the impermanence matter over which the time is winning. Images inspire concern by the texture and colour. Realisticaly built fat tissue acts cover a variety of colours. Especially attracts attention glaring red colour, which against the bruised skin and dark background wraps dramatic form  of naked bodies, bringing a clear association with the blood, just as the spiritual suffering of these individuals manifested in appearance.
The characters seem to roll the inner struggle between them physicality and psyche.
Painted bodies cause similar feelings of uncertainty and fear, but each fight is conducted in isolation. For example, naked man walking in an attitude of despair, his face buried in his hands ( No. 2 “Machinations of Dementia”, oil on canvas 140 x 70 cm, 2012 ), is associated with the despair of Adam from Masaccio fresco “Expulsion from Paradise” from the Brancacci Chapel in Florence.


2012 Jarosław Pijarowski – artist, performer, foundator of ICB GALLERY Warsaw

Touching Wodyński’s work is the primary association representing the otherwise overwhelming painterly medium primary author. The author in his series of photograms calls for a reflection on the essence of a man so dehumanized today. Alienated, degraded and tarnished loveless. Burning your anxiety, so I just fear for what is not frozen scream symptom of fear and terror. Wodyński becomes the intermediary between the smile of a lost childhood dreams and terrifying message hidden in an outstanding work of Francisco Goya, entitled: “Saturn devouring his children”. Since our audience is up, or creator’s imagination make contact with our senses.


2011 Obserwator Toruński – documentarist,, CENTER OF CONTEMPORARY ART in Toruń

I walked bravely into the Center Of Contemporary Art, to in the middle of it survive the intimate spectacle performed by four artists. In this case, no doubt Artists aware of media they have decided to use: lights, music, gesture, movement, coal and audience.
At the beginning I have been a little scared: too loud (not to say aggressive) melo-recital of Storyteller bit discouraged me. And it put me in a state of emotional arousal which didn’t give me to leave until the end of the show. When the artists drew the space this very Dostoyevsky state even  deepened me, because I’m a sensitive person.
So much for the theater, which main actor was the Narrator. The same who urged audience to read the line, who introduced the dynamics to the show. Movement, word and deed. In this emfazie  it was evident reference to the medieval theater where “art was shown.” I must admit that before I reached  this convention I just …was a bit embarrassed.
That shocking with a clear form clearly contrasted with the contents, which the draftsmans were involved. And they focused on a Man, at the conclusion of Man, which is an animal or even canis…. As we all remember that Pontius Pilate had comment “Ecce Homo” here where paraphrased to “Ecce canis”.


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.


2010 Piotr Klugowski, Painter, Professor at Faculty of Fine Arts Universitas Nicolaus Copernicus in Toruń

Wodyński focuses on the forms of both human body and that of a painting. Great many of his works look at art nude from an innovative perspective. On the realistic in its form drawing the artist usually puts thick streaks of paint in order to build a multilayered and thus prodigiously expressive image of a human. It seems that the artist is conveying the following message: this particular body expresses a particular and unique existence.

The omnipresent deformation brings various associations depending on the context. Many figures in his paintings may resemble dreamy spectres or allude to abstraction due to deformity. Nevertheless, most of the paintings can be placed in between expressionism and onirism as well as figurative and abstractionist art.

However, the great majority of Wodyński’s works to date are closer to figurative and expressionist art. In his search for hidden analogies between physicality and spirituality, the artist presents his own fresh way of looking at the idea of art nude. In his works the subject, method of presenting it, as well as emotional charge are one. This integrity proves how powerful are the works of this young artist.


2010 Łukasz Wodyński, MAŁA GALLERY Grudziądz

Human with all his semantic and cultural weight still in the postmodern era remains the mysterious object of fascination, inspiration and analysis. By my realizations I’m trying to polemicize with the processes which every living being undergoes. I’m interested in a horizontal arrangement contained on the axis of birth, duration and life , dying and defecation of human body. The time is fascinating me, and especially the body clocks with time. I want to take a closer look to these processes and their metaphysics. By building individual situations, people, gestures, forms, I try to dip myself into the mystery and the alchemy of the existence, into this parts of us what are mysterious and dark,  rich and sublime, material and timeless.

Human at the threshold of the twenty-first century becomes a MONUMENT for me, he is symbolic, not a reflection of reality, but the result of objective truth and my own observations. Embodies the fears and secrets of his time, he is a witness, and also the author, he is the cause.

I would like to penetrate into fat and muscle slices, to enter into their structure. Through the line density, stain, color, light and shadow, softness and aggressiveness to get inside – to sacrum.