Art has often referred to what undergoes the passing of time, to what is fleeting. Vanitas among the still nature of the 17th century, remnants of matter on human skeletons in the Middle Ages or the Baroque, many times reflected realistically, striking in their appearance.

Today the artists still draw on what´s passing, what´s marked by time and undergoes decay, is ephemeral. Such action may be, however, a kind of construction, with the stress put not on fleetingness but on change, transformation. In such aspect the destruction becomes construction, the emergence of a new order.
The work of Grzegorz Tomczyk deals with such problems. In 1996 the artist graduated from the Secondary School of Fine Arts in Lublin, next he studied at the Arts Faculty of UMCS. In 1999 he learned at the Faculty of Graphics and Painting at the Strzeminski Academy of Fine Arts in £ód¼ where in 2002 he got a diploma in painting under the guidance of Professor Miko³aj Dawidziuk completed with a screen printing annex in the studio of Professor Andrzej Smoczyñski. At present he is teaching drawing and painting at the C.K. Norwid High School of Fine Arts in Lublin. Yet in his diploma thesis he started to look for a painting formula through destruction that denied composition. He wrote, ´´Following the way art was changing with time one can arrive at a conclusion any human activity in this specific field was based until the XX century on making and improving the already existing rules, no matter what they were like. It was only in the last century that a man understood art can exist without any rules, art can be an idea, painting can exist without composition or paints, unlimited by a format or a rule.´´ The artist created a cycle of works whose surface, completely destroyed, was stuck again, producing a new painting. The artist approaches destruction as a process that leads to something new, when the end becomes a new beginning. His later actions were a continuous development and evolution of the started work. The canvas surfaces were burned, torn and peeled off. New paintings were born out of the pieces, but they were always given an aspect with an aesthetic formula. In these abstractions one can notice the joining lines of particular elements, colourful grounds and clear divisions. The originator writes, ´´In the 20th century man learned how to break rules, destroy the order in art considered right for centuries. He realized destruction equally to construction is a way to search the truth, it´s inscribed into our nature balancing constantly on the verge and between the opposites of good and bad, between heaven and hell, chaos and cosmos. Jose Ortega y Gasset defined the idea in a most characteristic way, ´´being ´man´ means being constantly on the verge of not being one, it means being a vivid problem, a final and full of coincidences adventure, a peculiar drama.´´ Next paintings were made by splashing paint over the canvas, differently to Jackson Pollock´s works because Tomczyk was able to control the process of such created composition. In this series paintings of anarchy-associated colours, red and black, were produced. Anarchy, chaos and destruction are terms around which the work of the artist evolves, the creator paradoxically unable to break with the painting tradition and still thinking about construction he´s trying to escape from. Nevertheless, he stays within the aesthetic painting frames.