One of my most recognizable cycles is the “Antique Games” series, presented at numerous international exhibitions, including the International Art Biennale in Florence. My work draws from the canons of proportion and beauty developed in ancient Greece and Rome, which were later reinterpreted in the Renaissance and Classicism. I combine these classical forms with elements of contemporary popular culture, referencing pop art aesthetics. My works not only reveal formal similarities to ancient models but also reflect on the modern world and its relationship with the past.
The Louvre in Paris houses iconic works of ancient sculpture, such as the “Venus de Milo” and the “Nike of Samothrace.” I refer to these classical depictions of female beauty and dynamic movement, but my sculptures incorporate contemporary attributes and unusual materials, giving them a modern feel. The “Nike of Samothrace,” depicted in motion and full of dynamism, in my sculptures can be transformed into a figure suspended in space, with modern elements such as contemporary materials or geometric divisions. I tend to ask how contemporary society perceives ideal beauty and whether universal aesthetic canons still exist.
The British Museum in London is famous for its collection of Parthenon sculptures, known as the Elgin Marbles. These reliefs and statues demonstrate the mastery of ancient sculptors in rendering movement and anatomy. My contemporary interpretations introduce a new context to these classical forms, often through the use of contrasting materials or the deconstruction of well-known poses. I draw on classical models but transforms them to reveal new meanings. For example, my interpretation of Greek friezes may depict figures interacting with elements of modern technology, suggesting a connection between the past and the present and questioning whether contemporary civilization can continue the tradition of ancient masters.
The Vatican Museums house a rich collection of ancient sculptures, including the famous “Laocoön Group,” depicting a dramatic scene of struggle against sea serpents. The expression and emotional intensity of this composition are reflected in my works, as I strive to capture both physical beauty and the inner experiences of my figures.
My approach to the expression of movement and emotion may be reminiscent of ancient models, but I additionally experiment with modern forms and structures. A contemporary version of the “Laocoön Group” in my vision might show figures struggling not with mythical serpents but with the challenges of the modern world, such as technology, consumerism, or alienation.
Sculptures I create are not merely reinterpretations of ancient motifs. They form a dialogue between the past and the present, compelling the viewer to reflect on the values of art and its place in the modern world. I don’t limit myself to faithfully reproducing classical forms but I use them as a tool to comment on contemporary issues. My works provoke reflection on what beauty means in the 21st century, how aesthetic ideals have evolved, and in what direction contemporary sculptural art is heading.
Both in his major works and smaller forms, I consistently explore classical motifs, combining them with modern materials and ideas. My art merge historical elements with a contemporary perspective, demonstrating the timelessness of certain themes and their significance in the context of today’s reality. By referencing ancient sculptures, I don’t not only pay tribute to past masters but also raises questions about the role of art in a constantly changing world.
My work serves as a bridge between the past and the present, blending classical canons of beauty with reflections on the modern world.
My sculptures, inspired by ancient masterpieces from Europe’s greatest museums, encourage contemplation of the permanence of values and ideas in an ever-changing society. My artistic legacy shows that the history of art is not a closed chapter but a living, continuously evolving process.
Michał Jackowski, sculptor
