Krzysztof Cichoń

Krzysztof Cichoń is a painter, graphic artist, architect, lecturer at SWPS (Faculty of Graphic Arts), graduated from the Faculty of Architecture of the Wrocław University of Technology with a master's degree, author of many Polish murals. In addition to painting, he runs an architectural office and creates individual fashion projects based on symbolism, lettering and typography. He is the author of many individual exhibitions in Poland and Austria.

Krzysztof Cichoń experiments with various painting techniques and materials. His works are dominated by acrylic paint, but also other media, such as oil, crayon, marker, spray and various precious metals - applied in patches. Due to the need to discharge emotions in the very act of creation, the paintings are large-format, always on canvas. They show the imprinted feet, hands, women's breasts, and bellies to remind the viewer of the devastation of not only the intellect, but also the body in the process of creation.

VANDALISM OF THE FIGURE
The interpenetration of animal and human motifs with letters has its roots in architecture and its creation - which was the ground for the artist. When designing, the architect draws new divisions on the same drawings in order to ultimately arrive at a coherent and clean system of functions and aesthetics. After putting them on top of each other, the drawings create a film of interpenetrating, motionless forms that show the process of the image growing up. This process often deforms the figure, distorts, stains or destroys it, creating a conscious composition of the artist. This technique is also reflected in the texture of the painting, which makes it three-dimensional during the repainting phases - showing its multilayeredness and stages of creation.

SIGN VANDALISM
Sign and letter have always fascinated the author - in particular, the Inca and Greek writing were the inspiration. This gave rise to the creation of an original alphabet, which the artist uses to give expression and brutality to the composition. The task of typographic and calligraphic motifs is to enslave the figure, put it in prison and tear the body with signs that are supposed to give it brutal elegance. This contradiction is also contained in the precision and spontaneity of painting techniques.