At the core of Jasik’s canvases lies an inquiry into human existence, drawn from Giotto di Bondone’s Legend of St. Francis fresco in the Basilica of Assisi. He abstracts the basic lines from the scene in which St. Francis renounces his earthly possessions, reinterpreting the horizontal division of the saint’s gesture to create a dialogue between the secular (earth) and the sacred (heaven).
Jasik’s works interconnect through this sensory language of line and color—each canvas offering a spatial manifestation of a spiritual state of mind. Though his strokes and lines may appear spontaneous, they are the result of meticulous coordination, representing an inner state of meditation that reduces his presence to a slight whisper. Jasik’s approach is one of restraint; color is used sparingly, as a veil that obscures even as it reveals, inviting the viewer not to analyze, but to experience his art on a visceral level.
Jasik’s approach to abstraction aligns with traditional Polish parameters of painting, resonating with the works and theories of Władysław Strzemiński. In
Theory of Vision (published posthumously in 1958), Strzemiński viewed the existential world as a constantly evolving entity shaped by history and external influences, both cultural and social. The curator Paulina Olszewska once wrote, "Strzemiński argued that in the process of seeing, what is important is not what the eye captures mechanically, but what we ourselves realize from this seeing.” Marcin Jasik is a rare example of a young artist devoted to his practice, working not from mainstream trends but from his own island of thought.
