1000 years Painting

The interiors of staircases and the nooks and corners of the yards of old tenement houses and their ceramic floors arranging themselves into geometric ornaments. Corridors leading nobody knows where and dados covered with phtalic paint. Stairs and railings. Windows, vents, glass bricks, glazed vestibules at entrances to gateways and gardens, hidden in the recesses of the yards of old houses, whose nooks and corners conceal low walls of unknown purpose and building sides covered with vine. Flowerpots on windowsills. Ubiquitous, fluid and blurred modelling of forms and shapes, emphasising the conventionality of their existence. Smooth, changeable transitions of colour patches and lights, suggesting the lack of distinctive boundaries between the areas and shapes of lights and colour patches, their gradients and shades. There are numerous reflexes, twitches and vibrations, flashes, dispersions of light and particles of pigment. The delicate, multilayer morphology of the matter of these colour and light phenomena also reveals itself. The sensual experience evokes the impression that we watch the world through a type of a painting veil, created by layers of almost muslin, delicate fabric, a type of photographic film or thin, translucent tissue. It is hard not to come under the impression that we are observing a world made of elusive, shaky flashes of an old slide, flickering in the beam of a projector lamp. Diapositives cast on accidental screens, walls with their scratches and faded or dirty patches. On curtains, sheets, net curtains or blinds. One might think – on the blinds of our recollections and memory. With one turn of the knob, one can spread apart the blind strips and disintegrate the projected slide. (Artur Winiarski on Alina Picazio paintings). This painting is made with an transfer technique (graphic transferred by hand on canva) an then painted with acrylic colours.