Jozef Michalski
Jozef Michalski is a London-based artist working across painting, print, photography, digital image and sculpture. His practice examines how landscape, memory and material surface are transformed by technological systems, image circulation and environmental pressure.
His ongoing series ATLAS develops what he describes as Fake Painting: works that begin through photographic capture, scanning, digital processing, data corruption and image translation, before being materially returned through archival pigment, prepared surfaces and resin-based media. The work sits between painting and printmaking, treating the image as both surface and signal.
Drawing from field research in sites including Naples and the Tabernas Desert, Michalski uses environmental images, sound, residue and digital processes to construct unstable landscapes shaped by extraction, compression and technological mediation. His practice questions the authority of Western landscape painting by forcing it through contemporary systems of circulation, duplication and display.
Michalski sees painting as primarily a digital medium, first accessed through screens or as digital print. Across Fake Painting, Fake Photography, Fake Digital and Fake Sculpture, Michalski’s work explores the point at which image, object and environment begin to collapse into one another.
Jozef Michalski is a London-based artist working across painting, print, photography, digital image and sculpture. His practice examines how landscape, memory and material surface are transformed by technological systems, image circulation and environmental pressure.
His ongoing series ATLAS develops what he describes as Fake Painting: works that begin through photographic capture, scanning, digital processing, data corruption and image translation, before being materially returned through archival pigment, prepared surfaces and resin-based media. The work sits between painting and printmaking, treating the image as both surface and signal.
Drawing from field research in sites including Naples and the Tabernas Desert, Michalski uses environmental images, sound, residue and digital processes to construct unstable landscapes shaped by extraction, compression and technological mediation. His practice questions the authority of Western landscape painting by forcing it through contemporary systems of circulation, duplication and display.
Michalski sees painting as primarily a digital medium, first accessed through screens or as digital print. Across Fake Painting, Fake Photography, Fake Digital and Fake Sculpture, Michalski’s work explores the point at which image, object and environment begin to collapse into one another.
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