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Much like Wittgenstein’s Remarks on Colour (which Osiowski had translated for his use before an official Polish translation appeared), highly fragmentary, full of questions lacking answers, forcing the brain to shift into higher gear, Osiowski’s paintings approach a million issues. Whereas Wittgenstein’s reflections lie at their source, Osiowski takes a step further. He places the philosopher’s propositions and direct quotations both in the titles of some paintings and in/on the paintings themselves, provoking the viewer all the more strongly to consider famous questions such as “Must white be the lightest colour?” … Osiowski’s paintings are like philosophical-linguistic treatises – luckily free from the heft of purebred phenomenology, like Dadaist experiments, like painted charades of absurdities, everyday life and politics.

Kamila Tuszyńska, Ph.D. excerpts of the review on

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