Dudziński is a real original, unclassifiable, and with a deadly graphic precision that enables him to get away with anything.
[Graham Vickers, London]
Dudziński is liberating. His vision of this world contains such a potent dose of corrosive humor that we suddenly feel lighter, less miserable. His works have an aggressive, cleansing power. After looking at them closely, one feels relieved, like at the end of an effective therapy. He clearly controls his drawing, dominating every gesture. Strength emanates from his confidently executed work. He manipulates his materials so well that the ideas conveyed seem perfectly clear, like new sensations. Straddled midway between the tragic and the comic, he vibrates with a healthy playfulness, much to our enjoyment.
[Jerome Camilly, Paris]
Dudziński's art doesn’t belong to any one movement, however, it’s not impossible to find it’s antecedents: the Surrealists, the Tachists, the Expressionists. But the artist doesn’t consciously take little fragments from each school, he is an instinctive heir to the centennial tradition of Modernity − he possesses it in his mind, that is in his memory and consciousness. So much for his technique and mode of behavior.
What is truly decisive for the form of his works is his approach to art. He doesn’t impose any compositional rigors − fully aware that once his personality is allowed to come to the fore, it will replace any calculated system with much better results. Such désinvolture would have been unacceptable for the critics, not to mention the public, even 20 years ago. Today’s postmodernist culture, despising the Style, allows for all kinds of treatments. Indeed, it does favour visions turned topsy turvy. From this very spirit acended the art of Dudzński.
[Monika Małkowska]
The cycle entitled The Envelopes is a completely new experience in dealing with this ostensibly fully recognized and classified artist. Dudziński emerges here as a lyrical abstractionist, not interested in any social, anecdotal, or for that matter − discoursive − messages. The line, swatch and color are in most of The Envelopes a matter in itself, a show of craftsmanship, a notation of the very moment when the artist covers the working area with a crayon, gesso, acrilic or graphite. To search for a subject in the work devoid of subject seems a pointless task, however here and there we can trace in The Envelopes remains of representations − be it in the shape pertaining to a phallus (XVII), or in the bizarre creatures, typical for Dudziński’s earlier work (XIII, XIV). In this situation it’s only natural that the viewer would be inclined to search for an outside context for the work not in the immediately surrounding world, but in the realm of art, which in this very instance becomes it’s own material. If we assume that through the eye color may indeed affect our entire psychophysical system and because of that the swatch of color often overflows beyond the contour of the drawing, or in some instances even replaces it − we’ve found for The Envelopes − a trail, however distant, leading to Kandinsky. If one was to recall Michael Tapié’s thesis that art is a kind of psychic improvisation, meaning it has no predetermined form but possesses a surrealistic context − one would include The Envelopes cycle into the tradition of informel, as well as −for instance − the tradition of drawings and paintings of Hans Hartung. This however has little bearing, beside an involuntary search for direct or indirect influences and relationships to which Dudziński’s Envelopes may relate. They are, above all, a manifest of the artist’s freedom, who − leaving far behind his role of a commentator of the reality − displays here his own, expressed with the help of line and color, exercises from the spiritual imagination. Both symbolic, as well as common, meaning of an envelope leaves one hopeful that the message will reach it’s addressee.
[Paweł Huelle, Gdańsk]