Credit image: Structures of Times - Technique: experiment, low-speed photography of moving objects, multi-exposure

Rossocinabro Gallery invites you to the exhibition “Structures of Time” – prof. Paweł Opaliński, Polish visual artist and photographer. Among the presented works, you will be able to see works from the series “War in the 5th dimension” and “Structures of time“. Both series were recognized by the international team of curators and experts at the IAA Awards in New York (International Association of Art Awards) – as icons of contemporary photography. Since their creation, the series have aroused great interest among critics and curators: in 2023-2024 they were exhibited during over 50 international exhibitions presenting new directions and styles in world art, and also brought the author a number of the most important awards – including MUSE Photography Awards, European Photo Awards, International Photo Awards, Paris Photography Prize and the Italian awards International Prize Michelangelo – for creative exploration and artistic value of works, and International Prize Botticelli – for contribution to the development of world art.

The Artfacts – Global Art Ranking – places Pawel Opalinski’s name among the 100 most important artists in the world in the categories of “fine-art photography” and “abstraction-creation” – next to the names of artists whose works are today considered milestones in the world of photography and abstract painting.

Paweł Opaliński was born, lives and works in Kielce (Poland). He graduated from the Faculty of Graphics and Painting at the Academy of Fine Arts in Lodz (Poland) – diploma with honors in the graphic design studio in 2003. He obtained his PhD at the Academy of Fine Arts in Lodz (Poland) in 2011, and habilitation in 2017 at the Faculty of Painting at the Academy of Fine Arts in Warsaw (Poland). Since 2018, he has been working as a professor at the Jan Kochanowski University in Kielce – the exhibition is carried out as part of the research work, he conducts at his alma mater.

“Structures of time” – statement

We can measure time very precisely, we treat it as something valuable that can be saved or sacrificed, we complain about its lack and in fact we cannot even say what it actually is. In photography, time is closely related to the mechanical recording of images and the recording of light waves reflected from photographed objects. The above definition shows the common belief that a photograph created as a result of mechanical recording is a reflection of the world we know. Is it really?

Let’s imagine time as a linear value – without beginning and without end. When we add further linear values ​​to this idea – which are the sum of the physical dimensions of objects – we obtain the so-called non-Euclidean space, in geometry called Minkowski space. The determination of this space became the starting point for Albert Einstein’s formulation of the special theory of relativity.

One of the assumptions of this theory is the linear record of time and position of objects and the relativity of simultaneity: when two events are perceived as simultaneous by one observer, it does not mean that they will be so for another observer. Therefore, we must use many non-Euclidean spaces to create an image of all things and the history of all events.

When we put them on top of each other, we get a picture of a multiverse in which all possible worlds exist side by side – including parallel worlds.

“Structures of Time” is my photographic vision of such a Multiverse, which humans cannot see – at the same time sensing or imagining its existence based on scientific theories, philosophical concepts or beliefs. A vision of space-time being a set of events in which we see not so much a record of our current actions, but a synthesis of generational efforts.

The key of the presentation is the characteristic and alternating rhythm (arrangement, aesthetics and sequence of works), based on several dominants organizing the visual space in the galleries. It works similarly to a musical hit – regardless of the type of medium, it always attracts attention and does it in the same way every time. So, whether New York or Rome – everyone sees the same rhythm built from my works and receives the same visual code to read. By maintaining these types of democratic principles and observing the reactions of viewers of my exhibitions, I have the opportunity to learn about cultural differences in the reception of art. For me, these are invaluable experiences, thanks to them my visual language continues to evolve.

We look forward to welcoming you from Monday to Saturday  from 11am to 5pm, Rome

Technique: experiment, low-speed photography of moving objects, multi-exposure