Piotr Storoniak

Your works often resemble complex labyrinths of lines and symbols. What first inspired you to develop this visual language?

This visual language emerged quite recently in my art. It emerged imperceptibly and spontaneously, as if it were a resonance of my soul with colors and patterns beyond time, or as if it were an answer to whispered questions brought to earth by background microwave radiation. The motif of the labyrinth has accompanied humanity for a long time, and for me it holds a multidimensional mystery. However, I feel that the true inspiration is hidden from me.

You describe your paintings as existing between “prehistoric dreams from cave walls” and patterns shaped by cosmic rays. Could you elaborate on how these two seemingly distant worlds meet in your work?

These two seemingly distant worlds, in my opinion, connect within each of us. Regardless of the advancement of civilization, we were, are, and will forever remain children of the Universe, intertwined with it in the circulation of matter and the flow of energy. We are both immersed in the cosmos and constitute the cosmos ourselves.

In this context, I would like to point out that the number of cells that make up the human body (10,000 billion cells) exceeds the number of stars in our galaxy (200 to 300 billion stars)!

A cursory glance at our reality reveals its banal aspects, but a deeper look reveals unprecedented complexity and interconnectedness.

Patterns from the microworld repeat in the macroworld.

In my opinion, even the art on cave walls is created as a reflection of reality beyond the visible world.

Piotr Storoniak | Faces from the pasti | 2025

How has your background in chemistry influenced your artistic thinking, processes, or understanding of materials?

Studying at the Faculty of Chemistry is a truly valuable experience that influences my perception of the world. As a result, reality for me is one vast and coherent scientific and artistic project. The structure of the human body and its functioning, viewed on the scale of chemical molecules, is a symphony of scientific beauty. One could put it this way: science and art inspire each other.

When it comes to the technical side of painting, it is, of course, pure chemistry. Using acrylic paints, you’re dealing with quite modern chemistry, as they are a relatively recent invention. Compared to oil, acrylic painting can be more challenging for me because the effects are sometimes unpredictable when the layers mix and dry. Unfortunately, I don’t know what chemicals the individual colors contain, so it’s impossible to predict the interactions between them.

Piotr Storoniak | Labyrinth 0003 plasmind | 2025

Many of your compositions feel like maps of thoughts, emotions, or invisible systems. Do you see your paintings as a form of visualized inner landscape?

Thank you so much for sharing your impressions, and I’m glad you feel this way about these paintings, as it’s close to my intention. These paintings are undoubtedly a manifestation of the spiritual world. The term “inner landscapes” aptly captures the nature of these works. One can imagine them conveying the trajectories of thought, the intricate journeys of depolarization signals along the brain’s pathways, triggered by feelings, premonitions, and dreams, into the visible world.

Piotr Storoniak | Labyrinth 0004 plasmind | 2024

The swirling acrylic forms in your paintings sometimes look organic, almost like living structures. How do you approach the balance between control and spontaneity in your process?

The structures in these paintings often grow like living organisms, forming themselves like intestines, brain coils, or long organisms. This happens very spontaneously in the first stage of painting. But then comes the stage of organizing and balancing the composition and colors. Sometimes it takes several months to complete a painting because I fail to achieve the right balance of shapes and colors. During this time, I look at the painting every day and imagine possible finishing options.

Piotr Storoniak | The smell of white moss | 2024

Many viewers might see references to ancient scripts, biological forms, or technological networks in your work. Are these associations intentional, or do they emerge naturally during the process?

Everyone who views these paintings will, of course, have different experiences and see something different. This is very interesting because it demonstrates how different we are in terms of sensitivity and emotionality. I believe that paintings, as an expression of the spiritual world—as I mentioned above—are psychoactive and influence our biochemical reactions.

Therefore, the goal of my painting is to create works that will both beautify the viewer’s life and heal their soul. The images we surround ourselves with, the images we gaze upon daily, are crucial. I hope that buyers of my art will feel the positive influence of these mysterious and ancient labyrinths.