With brush in hand, Janikowsky leads us through new worlds, crossing the confines of reality, in a fantasy that exercises the muscles of the imagination. The boundary between the animate and inanimate gets blurred, allowing both to exceed the threshold and intertwine with their opposites. Inert materials are lined with organic skin and visceral entrails and, by assimilating their characteristics, become conscious of their own. In turn, humans undergo an architectural mutation.
Motion freezes in time. A static and immeasurable moment, in which all hours are possible, even simultaneously. The past and the future become concomitant, any previous future, whatever that may be. It is a time of provocativeness where the steam engines propel Victorian engineering towards science-fiction. The latest technology is made of outdated equipment.
Janikowsky shows us that opposites are elements of the same equation. Therefore, his style has something of Renaissance and Retrocession, Constructive and Destructive, Futuristic and Gothic. Something that is mechanical as well as organic, it is somewhat so disturbing, but yet serene.
This rhythm of contrasts is the equation needed for movement and change. The journey is then a continual metaphor, the driving force that crosses its own themes and compositions. Its energy breaks the solid gothic architecture, by making the stones float, breaking the laws of physics, destroying the barrier of time and space. In the end, Jaroslaw paints travel through time.
It is a world that is so different but is yet so similar to our own, which leads us to establish the necessary parallels. A comparison of our existence with alternative life forms; which reflect our choices, that have shaped our history and influence our future. Janikowsky introduces us to an era in which events have taken a different course from a common existential key point. A satirical beauty, demonstrating that not only that there are other worlds, but they also coexist since its conception. Moreover, the power that reigns in those worlds is the power of imagination.
By Pedro Boaventura • Excerpt from Masters of Contemporary Fine Art - Volume 3