It is either a point on a map or something seen from an airplane — only then does it appear as a whole. From within, however, we are left with fragments. We can traverse them — lengthwise, across, along the edges — in certain directions and at specific times. There are other people, traffic, and light shifting as time passes. Nothing happens twice in the same way. A sense of fragmentation grows — the feeling of having touched only a piece.
And then come memories, knowledge, afterimages — the way a city changes over time. Emotions, too, because something once happened in a particular place. The memory of both mind and body. And the other senses? A characteristic or fleeting scent of a place: lilac, a blooming meadow, smoke from chimneys. A barking dog, a distant siren, a plane taking off — or urban silence, which is never truly silent. Taste and touch, fortunately perhaps, contribute little to the experience of urban space.
It becomes even more complex when we begin to exchange these images in conversation with others. Memory and color, framing, and an infinite number of variables. Remembered differently, seen differently. Our cities will never be the same.
How do we describe cities? How can we arrive at a reliable version, agree with anyone at all?
For years, Leszek Górski has been fascinated by architecture — both grand and modest — by how we use it and how it appears. He focuses on details, on moments. On fragments. And yet, it is always the city. Most often, it hardly matters which one.
The exhibition presents four photographic series by Górski: Mathematics, The World is Striped, Acid, and Lamparium. Each of them addresses a different aspect, yet together they form an image of the city — an urban space that is fragmentary, impossible to grasp, but possible to connect. Like a riddle. Like a puzzle that can be assembled differently each time. A personal image.
The Acid series depicts urban surroundings of Kraków — primarily greenery from domestic gardens and inconspicuous trees which, at night and under specific lighting, transform into toxic, dangerous creatures. Many of them seduce with a hidden beauty best kept at a distance. The photographs become a visual metaphor for threat, reflecting a universal sense of unease in the contemporary world.
This series consists of photographic micro-narratives focused on details that do not reveal a complete story but suggest fragments of it. They speak about our civilization, about human strength and positive energy — even when the human figure is absent, its presence is revealed through the surrounding environment..
This project stems from the idea that photography originates directly from mathematics. The mathematical framework, as a pure concept, is clothed in physicality — in proportions, perspective, structure, texture, and a defined aesthetic. Beauty emerges from the beauty of mathematics: sometimes consciously, sometimes intuitively captured by the photographer within the image of the city. Górski’s photographs reveal the most universal and subtle aspects of urban logic and its visual principles.
Leszek Górski (born in Krosno, lives and works in Kraków) has been documenting urban landscapes, architecture, and human presence for over thirty years, combining observation with an affirmation of order and the rhythm of modernity.
He is a recipient of international awards and the author of series presented in over 20 solo exhibitions in Poland. A graduate of the Institute of Creative Photography in Opava, he is a member of the Polish Union of Art Photographers (ZPAF) and the “Edytor” Photographic Agency.
His texts and photographs are published on his authorial blog, in Pokochaj Fotografie magazine, mgFoto, and on the ZPAF website.
Website: http://leszekgorski.pl/
The exhibition Theory of Connections can be viewed at Poleczki.art Gallery from October 24 to November 20, 2025.
Facebook event TUTAJ
The exhibition is held under the honorary patronage of the Mayor of Ursynów District, Mr. Robert Kempa.
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