Ceramic reliefs it's one of my favorite projects - next to sculptures and instruments. I call them reliefs due to the diversity of the surface, which I give a more or less sculpted shape, usually also a special texture, highlighting the beauty of glazes. What distinguishes them is the depth of color and its durability, unattainable in any other technique. The glaze is in fact a thin layer of various types of glass, thanks to which it absorbs and reflects the light in a specific way. This means that in various conditions, depending on the time of day or angle of view, the relief looks differently. In this way, it beautifully "responds" to the surroundings - as if it lived his own life. I call this occurrence "resonance", borrowing the term from a musical dictionary. down
Unfortunately, none, the best photo will even show half of what they really are.Only direct contact is reliable. This is confirmed by all the viewers and everyone who came into their possession. They also have a completely different influence than, for example, traditional painting, to which they are also similar due to their form and multicolor. At the same time, they fit into any type of interior. By design, they can be also a permanent decoration if someone would like to wall them. Maybe a bigger concept gives a makeshift (I'm working on a new) clip below: please pay attention to the reflection of light when you change the angle of view.
Reliefs are made of separate elements, separately fired and connected together. Achieving the right color requires repeated firing of subsequent enamel layers on individual fragments. I use the RAKU technique - a Japanese-inspired, highly-modernized and very spectacular method of creating ceramics. down
In addition to the spectacular, very effective ending of firing at high temperature (960 -:- 1120 degrees Celsius), the RAKU technique also has several other advantages. One of them is a short time - the process itself takes about 4 hours, which allows fairly quick transitions to the next stages. Another advantage is the possibility of obtaining a metallic gloss and specific traces through the reduction, which is done by throwing red-hot objects into sawdust, grass or oil. There are a lot of unpredictable things happening at the time - and that's what adds to the magic of this ceramics. In RAKU it is assumed that cracks created in the furnace or during reduction, traces of tools that are used for removal - these are all added values. I use glazes dedicated specifically to RAKU, but I use them in my own, long-established experience. Apart from them, I have a whole set of recipes created by me, protected by copyright. Only the combination of all these secrets in the whole allowed me to refine the workshop and find my own path. down
The idea of ​​reliefs has its own story. Many years ago, when there was not even one ceramics shop in Poland, I was looking for recipes for my own enamel. I was interested in the polychromy of the sculpture and I wanted to achieve a satiny, delicate colored surface, not matte, but also not shiny in any case. After many experiments, it succeeded, and by the way I noticed that my potions after firing give beautiful, painterly effects. This association led directly to the thought of using them for flat surfaces, similar to pictures.

The first time I presented them in 2004 in a rather specific scenery: on the barge at the Vistula embankment in Warsaw. The reception was unambiguously encouraging further work. Later, the fate was different, but ultimately in the last years I have refined and enriched the workshop so much that I can work on them systematically and continue to develop. I have plans for even more spatial ideas that I intend to present in the near future. 

In the meantime, I invite you to my gallery.
with the consent of
photo 1, 4: Bogdan Marciniak
photo 2, 3: Agnieszka Hammer