PORTFOLIO MICHAŁSROKA VISUALARTIST
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BiOGRAFICAL NOTE: Michał Sroka visual artist, architect, assistant prof. at the Faculty of Painting at Academy of Fine Arts in Krakow. He is currently doing his PHD studies. Took part in several exhibitions, numerous competitions and workshops. His works have been shown in Poland and abroad, including Germany, Czech Republic, Great Britain, France, Spain and Austria, Polish Institutes in Budapest and Dusseldorf, KunstRaum Weissenohe, Alte Post Neuss, BWA Warsaw, Bunker of Art in Cracow, Gdańsk City Gallery, Władysław Hasior Museum in Zakopane and Geppert Gallery in Wrocław. Received scholarship of the Marshal of Lesser Poland Voivodeship Ars Quaerendi, Sapere Auso Scholarship and award at International Drawing Triennial in Wrocław. He is cooperating with Transporter Kultury Foundation, Ethnographic Museum in Warsaw, National Association of Architecture Students, University of Applied Arts in Vienna and Kunst Akademie Dusseldorf. He coordinated international artistic projects “CUBE”2016, “TRIANGEL” 2017. In his practise he is dealing with painting, drawing, photography, architectural design and installation. His main area of interest is the relationship between painting, architecture, sculpture and space.
BIO
2016 Education: 2015-2018 PHD Studies - Fine Art Academy in Cracow 2009-2014 Painting Studies – Fine Art Academy in Cracow 2005-2010 Architecture and Urban Planning - Cracow University of Technology Achivements: 2016 Scholarship for best PHD students 2016 International Drawing Trienniale Award for best Drawing Diploma 2013 Sapere Auso Scholarship Laureate 2013 City of Cracow Scholarship 2012 Honorable mention in international architectural competition “ROOFTOPS? Why not. International Contesta” Selected exhibitions: SELECTED EXHIBITIONS: 2017 september “Living in material world” BWA Gallery Warsaw, POLAND 2017 august “Open forms” Telos, Cracow, POLAND 2017 july “Ostrale-11th International Exhibition Dresden” Dresden, GERMANY 2017 july “Seventh dimension of art” Muzeum of Śląsk Opolski, Opole, POLAND 2017 june “Sejsmograph II” Bunker of Art, BWA Tarnów, POLAND 2017 june “Triangel ” Galerie ALTE POST, Neuss, GERMANY 2017 june “Triangel ” Polnisches Institute Dusseldorf, GERMANY 2017 april “Seventh dimension of art” Arsenał Gallery, Wroclaw, POLAND 2017 april “Forms of everydayness” Latarka Gallery, Polish Institute Budapest, HUNGARY 2017 april “Drama of Freedom/Drama Svoboda” Ostrava University Gallery, Ostrava, CZECH 2017 april “Raw state, open ” Gdańsk City Gallery, Gdańsk, POLAND 2017 march “Her white plumage, shine on by rays of light” Henryk Gallery, Cracow,POLAND 2017 february “Drama of Freedom” City Gallery of Art, Częstochowa, POLAND 2016 september “Lebensfreude” Kunst Raum Weissenohe, Weissenohe, GERMANY 2016 september “Anomalies” Promotional Gallery, Kraków, POLAND 2016 september “Grey scale” Kunstverain Amberg,Amberg, GERMANY 2016 august “Cube. Polish-German Art Biennale ” Fine Art Accademy, Cracow, POLAND 2016 july “Out of sight Out of Mind” Henryk Gallery, Cracow, POLAND 2016 may “Bei family” Władysława Hasior Muzeum, Zakopane, POLAND 2016 april “Aufbau-Work in Progress” Cracow Gallery Weekend, Cracow, POLAND 2016 april “Topography of freedom” Szyb Wilsona Gallery, Katowice, POLAND 2016 february “I water my white mind” Henryk Gallery, Cracow, POLAND 2015 dezember “Drawing Dyplomas” Think Thank Lab Triennale, Wrocław, POLAND 2015 dezember “Open Call” Think Thank Lab Triennale, Wrocław, POLAND 2015 september “Fading Memory” KunstRaum Weisenohe, GERMANY 2015 june “Best diplomas” Art Pallace, Cracow, POLAND 2014 october “International Print Triennnale” KOCHI , JAPAN 2014 may “Rest Art” Old Power Station” Cracow, POLAND 2013 august “Bermuda Triangle” Option Gallery, Cracow, POLAND 2013 june “Horrizon of freedom” Centre for Contemporary Art, Radom, POLAND 2013 april “Labirynth of freedom” Szczecin Castle, Szczecin, POLAND 2012 dezember “Verbindung” QQ Art, Dusseldorf, GERMANY
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LORD ’ S FAVOU R I S N O I N H E R ITANCE CRAC OW 2 0 1 7
Artist: Michał Sroka, Filip Rybkowski, Emilia Kina, Michał Soja, Adrian K Kasia Szymkiewicz, Paweł Dudziak
“The Lord’s Grace on a Motley Horse” is a collective exhibiti in a rented flat at ul. Rakowckiej. Each of them in a unitary way creative actions and interventions is the crazy time of the first
The installation refers to the megalomaniac figure of the creato creating a park / town / environment? Can we live in such space impersonal individuals, nature, have been subordinated to the c the figure of such an artist, a creator who, uncritically, in order ples of functioning in society. Thus, he visualizes the creator’s dreams, a demiurge, which bu ates underlines the monumental nature of the artist’s intentio artists dream of creating monumental works? But at what price really available to the artist. It is a brutal truth about the artist work affects is the position, artist, individual, and human in co by machines
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ion of seven artists represented by Henryk Gallery, organized y refers to the topic of market mechanisms. The inspiration for t ups and downs accompanying each past debut.
or. An artist dreams about building his “own artistic monument” e? Can we consider it as a fragment of a totalitarian city, where concept of a genius creation? My work puts into consideration to pursue his own dreams, forgets about the collective princi-
uilds his own Sculpture Park. The scale of the elements it operons. Critics are subjected to creativity. Is not it that each of us e. But in reality, however, it turns out that only such models are t’s position and his imaginations. An important aspect that this ollision with progressive technology, slow displacement of man
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T RI AN GE L 2 0 1 7 IN S T Y T U T P OL S K I W D U S S E L DORFIE ALT E P OS T N E U S S S I T TART GAL E RI E D U S S E L D ORF
Artist: Marta Antoniak, Anne Berlit, Michalina Bigaj, Bartosz Czarneck Grotevent, Piotr Korzeniowski, Kamil Kuzko, Emilia Kina, Jan P Jakub Najbart, Tobias Nink, Edith Oellers, Natascha Schmitten, Curators: Monika Kumięga, Brigitte Dßmling, Klaus Richter Photos: Hanne Brandt
TRIANGLE is the title of the exhibition, which, through works years between artists from North Rhine-Westphalia and Krako - percussion made of a piece of steel bent into a triangle shape sound. It is a beautiful symbol of exchange and artistic relation time leaves room for non-recognition, an irregular gap for wha places of presentation on two banks of the Rhine, that is the g Post in Neuss and the SITTart gallery, which belongs to the As presents works by ten Polish and ten German artists Curators Oellers and Klaus Richter did not submit the exhibition social of works, recognized their sympathies and choose a sophistica termined assumption, but they generate relationships between dialogue and internal tensions. It is not a question what the ex it reveals has become a point outputs to arrange the exhibitio
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ki, Brigitte Dümling, Simon Evertz, Nanja Gemmer, Matthias Pamula, Ubbo Kügler, Katharina Maderthaner, Justyna Smoleń, Michał Sroka
s of art, talks about friendships that have deepened for several ow. TRIANGLE (from the Latin triangulum) is an instrument e that has one open angle and appears high, characteristic nship that “sounds” and requires attention - and at the same at is new and different. In this case, the word also means three gallery of the Polish Institute in Düsseldorf, Kulturforum Alte ssociation of Artists in Düsseldorf. The exhibition Triangle s of the exhibition Monika Kumięga, Brigitte Dümling, Edith themes or any other subject, but they penetrated the matter ated collection of works that are not subject to any preden each other through common presence in space, generating xhibition wants to convey or prove, but what we see and what on in all three places.
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I WAT E R M Y W H I T E M I N D H E N RY K GAL L E RY CRAC OW 2 0 1 6
Artist: Michał Sroka Photos: Studiofilmlove. Grzegorz Mart
Curatorial text: The title I Water My White Mind screens the excerpt from the The leakage of talk. My mind is dribbling out of my mouth. My dip before the upswing. (…) I water my white mind with book
Michał Sroka’s art is Merzbaum in painting, Kurt Schwitters c of sculpture, architecture and painting. Michał compiles objec materiality of canvas. The figure of artist-collector (Anselm Ki artwork. Paintings to Michał are nothing other than expression and ideologically, everything that to him is significant.
I Water My White Mind is composed of paintings, objects and has so far encompassed the memory palace (or, the method of tigraphy or stratigraphic research, a research method aiming to strata and historical accumulation. Stratigraphy might be the ke across, his painting should be ‘interpreted into’ the surface of t I Water My White Mind exhibition structure encourages enqu objects.The question of propriety [of overproduction] remains the terror of consumption?
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first volume of Susan Sontag’s notebooks and journals, Reborn: y will is more flabby than it’s ever been before. Let this be the ks. Impenetrable disorder of human relations.
concept of total art in practice, embracing artistic expression cts, discards, left-overs, overbuilding [symbolically] uninscribed iefer, Joseph Cornell, Władysław Hasior) is as crucial in Sroka’s ns of his personal collecting obsessions. They contain, physically
drawings the artist created in the previous year. His interests loci). Michał’s work is also underscored by the concept of strao determine and describe a chronology of existing technological ey to understanding Sroka’s production – rather than along or the canvas. uiry into the question of contemporary overproduction of art s open. Does Michał Sroka’s art stand a chance in the clash with
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W ORK I N P ROGRE S S H OT E L C RAC OV I A CRAC OW 2 0 1 6
Artist;: Michał Sroka, Bartek Czarnecki, Konrad Gęca Photos: Studiofilmlove. Grzegorz Mart
The natural environment of human being is the space in which lived had long lost the features of naturalness. We are “endemi created by people of space. For our neolithic ancestors, recogn be a problem. Its basic tasks are related to limiting, channeling imperceptible to the user. We devote our freedom to comfort the creators is able to capture the usually trivialized tensions s The world is a complex, multi-layered whole of our contact The tool can be anything, because it is not about objectivity, b space in which we will be able to exist.
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h we can move without restrictions. The space in which we ics� - the last traces of nature in the artificial environment nizing the true features and functions of this space would not and disciplining. This program seems so natural that it almost t, warmth and security. The increased, attentive sensitivity of serving the discreet or overt control of our behavior. ts with tools, their use, abandonment, sometimes resistance. but about uncovering some aspect of our reality, opening up a
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OU T OF S I GH T OU T OF M I N D H E N RY K GAL L E RY CRAC OW 2 0 1 6
Artist: Jakub Ciężki, Bartosz Czarnecki, Bartosz Kokosiński, Adrian Cyryl Polaczek, Joanna Rajkowska, Michał Sroka Photos: Studiofilmlove. Grzegorz Mart
Once, walking by waste containers, I discovered a damaged pai tion. An odd piece in the recycling hierarchy. Failed? Inconsisten destruction? An element in the creative process with its final e The event of discovering a painting in the heap of rotting rub hibition on the contemporary (over)production of art objects circulation of artworks i.e. the art world factory waste.
My exhibition idea was put into practice by reaching out to m defective objects, which they had written off. My proposal wa ‘manufacturing defect’ or a ‘discard’ was variously interpreted a new work – a record of a failed attempt at making a copy followed a different path – towards abandoned artworks – an dragged out ‘rubbish’ from the abyss of his studio, while Joanna arose in the context of the error and its limits, eliciting individ
Collected artworks will be exhibited under the combined, coll the realm of the art world to which access is denied. At once
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2018 Kolerski, Jerzy Kosałka, Tomasz Kręcicki, Paweł Matyszewski,
inting. Sitting next to the green bin, it willy-nilly drew my attennt with original intention? Discarded and doomed to oblivion/ end in the dump. The piece turned out to be Tomek Kręcicki’s. bbish was my starting point and inspiration for creating an exs, and, further, on the status of the artwork and an alternative
men and women artists with a call for creative refuse, discards, as received with differing reactions and the very concept of a by the artists. Specially for the occasion, Jerzy Kosałka created of a black square on a white background. Paweł Matyszewski nd exhibits previously unpublicized artworks. Tomek Kręcicki a Rajkowska shared one of her abandoned casts. The question dual responses from Kuba Ciężki and Adrian Kolerski.
lective title Out of Sight, Out of Mind / OOSOOM / suggesting absent and transparent, but also intentionally concealed from
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D I P L OM A CRAC OW 2 0 1 5
When we introduce any order, be it in the outside world, ou stages. At first, they are clearly out of place, threaten the order, to the side. At this stage, they have some identity - we can per they took: food or packaging. This is the stage at which they ar ence undermines the clarity of all confi duration. However, an powdering, dissolving and rotting. In the end, all identity disapp they fall into the general mass of garbage. It’s unpleasant to fum identity. Until they have identity, garbage is not dangerous. They belong to a specific place, buy waste of one kind or another.Wh of total disintegration, dirt is completely different. So the cycle
Formal relationships that take place in one work or between d of the world. Each transfer and interception prevents or at lea lows - for entropy - the duration of the meaning of some acco that indeterminacy, complementarity, lack of causality are not w want to work in this world “
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ur attitude towards the rejected elements goes through two r, so they arouse our opposition and we vigorously sweep them rceive them as unwanted pieces of this something, from which re dangerous; their half-identity is still in them and their presny physical thing recognized as dirt will have a long process of pears. The origin of the various elements goes into oblivion and mble in them to get something back, because it animates their y are not even ambiguous in reception, because they definitely here there is no variation, there is no impurity. In this last phase e closes.
different works create order, which is a metaphor of the order ast hampers disintegration. “I believe that only cooperation alomplishment. Niels Bohr in a polemic with Albert Einstein said ways of the world, are description systems, useful for those who
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OPENFORMS STUDIO TELOS CRACOW 2016
OSCAR HANSEN “Open Form is variable compositions - these are the processe ther - “Art in the convention of Open Form consists in shaping the changing events in the life of nature and man. This is abou with the space of human activity. Art in the convention of the O the right spatial atmosphere for reflection, and thus contradicts dictates. “In Open Form, Hansen included the idea of the art an engine. When designing housing estates, he treated the activitie outside, this form was to be one of the elements of artistic po human activities.The work of an architect or artist would boil d in the process of changes and transformations based on the cr The Open Form, as Hansen described it, proposed breaking w to open wide eyes to the comprehensive capabilities of individu The Open Form, according to Hansen, could become “the real while respecting the “otherness” of every human being. In ord clear and communicative. Hansen emphasized the creative role
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es of life exposed by backgrounds” - wrote the artist. And furg the cognitive space, understood as BACKGROUND exposing ut the harmonious integration of biological life forms on Earth Open Form, respecting the individuality of the recipient, creates s the art of the dominant object in space - the cult of dogmatic nd the environment in which the average person would be the es of every man in his apartment as a spatial form, while on the olemics of various forms of a similar type - the result of other down to an auxiliary role in this case, to display these activities riterion of the readability of individual forms. with the superordinate scheme of specialists and was supposed ual people, the relationship between them, and the art of events. lism of our time”. The artist’s role would be to avoid any chaos der for people to do what was part of Open Form, it became e of the individual, because she was the co-author space.
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CUBE POLISH-GERMAN ART BIENNALE CRACOW 2016
Artist: Michał Sroka, Bartosz Czarnecki Photos: Studiofilmlove. Grzegorz Mart
CUBE “Our consciousness is not passive and changes, because eve redefinition, forcing reflection from a different perspective. Ce constituting a map of references to a greater or lesser extent. to be real and it is impossible to ignore it. “
“The place arises as a result of an unpunished decision. There i the artist. He calls the Place. A place can not be recognized by are considered particularly predestined to become a PLACE “
The world is a complex, multi-layered whole of our contacts tool can be anything, because it is not about subjectivity, but ab which we will be able to exist. Jean Luc Nancy put it this way: “The world is always a diversified combination of individual thi
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ery day we experience something that extends it, requires it ertain issues undergo a reappraisal, because it changes reality . Something that seemed unthinkable earlier, today it turns out
is no sufficient reason for the Place in the world. That’s right in its external appearance, but in the world There are areas that
s with tools, their use, abandonment, and time resistance. The bout uncovering an aspect our reality, the opening of a space in
ings that make sense in connecting with each other.�
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F ORM S OF E V E RY DAY N E S S LATARK A GAL L E RY POL I S H I N S T I T U T E BU DAP E S T 2 0 1 7
Artists PL: Michalina Bigaj, Adrian Kolerski, Michał Sroka, Bartło Artyścu HU: Balázs Máté, Baráth Áron, Forgó Tóth Árpád Curators: Agnieszka Jankowska-Marzec, Tomasz Piars
As anthropologist Roch Sulima wrote - everyday life is inevitab definition. However, should not it be redefined in the postmod artists from Krakow. Living in times striving for hyperreality th they reflect on its essence. They return to the “roots”, examin currently speak the loudest, and things instead of long duration discovering their hidden potential, searching for “otherness” in everyday life is revealed in their objects by their unexpected, s photography is looking for a simulacrum of real nature in our s plants and photo-wallets intended to give residents a substitut a new application for materials “in the industrial spirit”, creatin at the same time, the tension between contemporary disciplin objects-paintings exceeds the limits of the painter’s medium, th to reflect on the issues of destruction and transitoriness. Kole objects-musical instruments, or perhaps tools or “antique” ma focuses its attention on forms-modules, (preferring the rectang them, both in painting, sculpture and architecture, as well as in a diverse formal language, for they are close to both the aesthe modernism, especially its minimalist variants. The most importa an ironic metaphor of everyday life.
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omiej Węgrzyn
ble as the weather (...) is practiced and does not need dern era? This question puts four young people together hat is more appealing than the surrounding world, they invite ning primarily the subject world, which seems to be n are doomed to a dustbin or a quick exchange. Interest n what is the closest and the most obvious. Banality sometimes humorous side. Michalina Bigaj in a staged series surroundings, fascinated by the “world” of artificial te for contact with nature. Bartłomiej Węgrzyn is located ng post-minimalist objects revealing them nes: sculpture and design. In turn, Adrian Kolerski in his hrough their deliberate cracking, yellowing encouraging erski’s objects also raise associations with the scaled ones achines? Michał Sroka, on the other hand gle), present in visual culture for centuries. sees the world of everyday things. Artists from Krakow serve etics of DIY and the attempt to refresh tradition ant one - an attempt to create an unobvious, somewhat
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RAW S TAT E OP E N GDAŃ S K C I T Y GAL L E RY GDAŃ S K 2 0 1 7
Artists: Daniel Cybulski, Radoslaw Deruba, Emilia Kina, Filip Rybkowsk Curators: Gabriela Warzycka-Tutak, Aleksander Celusta
Fragment of the curatorial text: “In the fall of 1985, the Dialog Eight Polish participated in it artists connected with the Foks based on the title dialogue, each of them was given the opportu by: Henryk Stażewski - Daniel Buren, Edward Krasinski - Lars En ski - Barry Flanagan, Lesław and Wacław Janiccy - Gilbert & Ge Ian McKeeyer. It is a fact that the artists invited to take part in th so only its announcement and impression, and the exhibition cognition. The other the party assumed the role of creator of d putting on pedestal experience. Dialogue asked about the form
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ki, Robert Seikon, Michał Sroka
g exhibition took place at the Moderna Museet in Stockholm. sal gallery environment. Because the formula of the show was unity to invite any artist from abroad.The project was attended nglund, Maria Stangret - Christian Boltanski, Zbigniew Gostomeorge, Tomasz Tatarczyk - Susan Rothenberg, Leon Tarasewicz he exhibition have never met.The form of dialogue has become a collage of thought and content and a kind of simulation of dialectical thought resonating through multi-directional search, m and sense of creation of such activities .... “
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SELECTED
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D WORKS
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MICHAŁ SROKA. “Untitled” enamel on canvas, 140x100cm, 2016
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2018 MICHAŁ SROKA. “Untitled” enamel on canvas, 140x100cm, 2016
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MICHAŁ SROKA. “Untitled” acryl and drawing on canvas, 140x100cm, 2016
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2018 MICHAŁ SROKA. “Untitled” acryl and drawing on canvas, 140x100cm, 2016
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MICHAŁ SROKA. “Untitled” enamel on canvas, 120x80cm, 2016
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2018 MICHAŁ SROKA. “Untitled” enamel on canvas, 160x100cm, 2016
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MICHAŁ SROKA. “Untitled” enamel on canvas, 40x30cm, 2016
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2018 MICHAŁ SROKA. “Untitled” enamel on canvas, 40x30cm, 2016
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MICHAŁ SROKA. “Untitled” enamel on canvas, 160x100cm, 2016
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2018 MICHAŁ SROKA. “Untitled” enamel on canvas, 100x100cm, 2016
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MICHAŁ SROKA. “Untitled” enamel on canvas, 100x80cm, 2017
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2018 MICHAŁ SROKA. “Untitled” enamel on canvas, 110x70cm, 2017
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MICHAŁ SROKA. “Untitled” enamel on canvas,80x60cm,2017
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2018 MICHAŁ SROKA. “Untitled” enamel on canvas,160x100cm, 2017
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MICHAŁ SROKA. “Untitled” pencil, charcoal on paper,60x60cm,2015
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2018 MICHAŁ SROKA. “Untitled” own technique on paper,100x70cm,2015
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MICHAŁ SROKA. “Untitled” own technique on paper,100x70cm,2015
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2018 MICHAŁ SROKA. “Untitled” own technique on paper,100x70cm,2015
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MICHAŁ SROKA. “Untitled” poliptych , collage on canvas, 4x40x30cm,2014
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2018 MICHAŁ SROKA. “Untitled” poliptych , collage on canvas, 12x20x15cm,2014
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MICHAŁ SROKA. “Untitled” poliptych , drawing on paper, 6x30x15cm,2014
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2018 MICHAŁ SROKA. “Untitled” collage on canvas, 5x40x30cm,2014
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MICHAŁ SROKA. “Untitled” collage on canvas,50x50cm,2015
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2018 MICHAŁ SROKA. “Untitled” collage on canvas,30x20cm,2015
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MICHAŁ SROKA. “Untitled” collage on canvas,60x50cm,2017
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2018 MICHAŁ SROKA. “Untitled” collage on canvas,60x50cm,2017
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MICHAŁ SROKA. “Untitled” collage, object on wooden box, 40x30cm, 2016
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2018 MICHAŁ SROKA. “Untitled” collage, object on wooden box, 8x40x30cm, 2016
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MICHAŁ SROKA. “Untitled”wooden object,2017
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2018 MICHAŁ SROKA. “Untitled”wooden object,2017
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MICHAŁ SROKA. “Untitled” collage on paper,40x30cm,2017
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2018 MICHAŁ SROKA. “Untitled” collage on paper,40x30cm,2017
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MICHAŁ SROKA. “Untitled” collage on paper,25x40cm,2017
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2018 MICHAŁ SROKA. “Untitled” collage on paper,40x30cm,2017
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