The cycle [view of the outside] has an evident self-portrait character revealed in the many layers of the paintings. Each of them is meant to be a form of a specific thanksgiving uttered by the author, a "thank-you" which man used to say in his final moment (suprema hora gratias ago), saying good bye to all that was important for him. In every painting the physical presence of the self-portrait image is of key importance - he is the one to say thank you to the loved ones and those people, objects and places that were important in his biography and memory. The self-portrait motif in these works has a specific dimension. On the one hand, this is the consequence of the fact that I sometimes appear naked or half-naked here, and my figure refers to the iconography, composition patterns and poses connected with Christian sacral art. On the other hand, the self-portrait is additionally highlighted by technical procedures - there are always two layers in the paintings: the first colourful one, is the "world layer", a layer to which the author's "thank you" is directed; the second layer, revealed through the literal tearing of the first one, is black and white, and it is here that I place my image. An additional element present in all of the photographs is a white sheet of paper which often functions as a shroud. The series [view of the outside] is intended to have a testament dimension. I hope that these works prove what an insubordinate variety of artistic work the self-portrait can be - in the artistic activity a polemic act of counter-creation has been included. G. Steiner's remark about the self-portrait as a graphic motif, a "creation of oneself", and that "a self-portrait is the expression of his [the artist's] predilection to freedom and of his polemic attempt to master again, to take control over the forms and meanings of one's own existence", does justify, I hope, the sense of the attempts made.
