T12, 1958

The artist realized that the photographic material is analogical to a canvas and it is possible to experiment with it, in the same way, that he did with his abstract painting in which through his applied method of ‘dripping’ he achieved the effect similar to a surreal metaphor. In both, his cameraless photographs and paintings from the first half of the 50s and the beginning of the 60s, there is a strong element of expressiveness.'
KRZYSZTOF JURECKI, BRONISLAW SCHLABS, MUSEUM OF ART IN LODZ, 2004
Photographer, painter, organizer of numerous photographic exhibitions. A member of the Poznan Photographic Society since 1953. Member of the Association of Polish Art Photographers since 1962, and of the Association of Polish Artists and Designers since 1963. In the 50s, his photographic works were kept within the convention of socialist realism. He became interested in abstraction in 1956. From then on, his photography became closer to graphical techniques. In 1958, he took part in the Subjective fotografie exhibition in Essen as the only Pole. Also in 1958, he created an informal group along with Zdzislaw Beksinski and Jerzy Lewczynski, which presented a controversial exhibition in 1959, derided by critic Alfred Ligocki as ‘Anti-photography’. There was a break in his work during the years 1962-74. By the end of the 80s, he had returned to his artistic activity, working on his own technique being a synthesis of photography and painting

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