“A Canticle for Onuphrius” is Artur’s Trojanowski’s experiment. The exhibition can be seen as a temple of a cult to come. As a house of a god to be invented. Complete with abstract fetishes, shiny totems, biomorphic representations. Here, abstraction appears to be the best fit. It seems to offer the fullest space for representing a metaphysics, all things figurative are too tightly woven with the mundane. And even the very term ‘abstraction’ comes from the Latin word, abstractio – a separation. Trojanowski himself forgoes frames of painting and works in space.
He constructs a comprehensive environment. From three-dimensional objects, resembling popular votive offerings of glossy wrappings used in Krakow Cribs, from near-biological images and their spatial extensions as well as industrial installations mapping colourful light onto gallery walls. One is a futuristic reworking of a St. Onuphrius chapel once encountered on a countryside road. Now so distant from the original that it might have never existed; it will become a metal saint statue pulsating with a glittering light. For as much as God is dead, it is difficult to exist without some species of the sacred.