1958–1960 First Gestures

1958–1967 Photo-paintings

1965–1967 Intuitive Paintings

1959 Photo-actions

1959–1979 „Objective” Recordings

1959–1968 Metaphorical Intuitions

1969–1972 Interactive Photo-Objects

1962–1980 References (Sets)

1966–1967 Camouflages (Jozef Korbiela)

1966–1972 Double Paintings

1966–1994 Epitaphs

1969 Reality as Photography

1969–1979 Photo-films

1970–1976 Film Structural Models

1968– Analytic-Conceptual Photography

1971–1976 Public Interventions

1971–1978 Mechanical-biological Recordings

1971–1972 Sound Manipulations

1971–2001 Installations

1972–2002 Astral Photography

1974 Tactile Paintings

1974–2002 Videoperformances

1975 Relations

1975–1996 Energetic Photo-Angles

1978 Abysses

1971– Lightboxes

1978–2000 Personal Cinema

1981 Handshake

1981–1982 Papers

1982 War State

1982 Votive Photography

1982–1986 Re-reports from a TV Set

1985–1999 Biologions

1987 Fetishes

1988 Simple and Complex System

1992–1994 Machines (Installations)

1996 Re-photography from a TV Set

1997 Videoportraits

1998–2000 Termograms

2001 Synthetic Photography of „Nothing”

2003 Photo-marriages

1959–2011 Chemigrafie


Works in collections

Energetic angle I, 1975

The works from the Energetic Photo-Angles series are an expression of a fascination with the problem of the existence of ANGLES as a kind of intuitive geometry. For years now, this MODEL, imagined in the human mind, has been a primary motif of my artistic activity. I ponder a question; to what extent can 'geometry', which, after all, in its intention, has solely practical goals, function in art? In order to render this problem substantial, I decided to create ANGLES as an energetic cultural symbol in the form of a personal fetish. My intuition tells me that, with three angles at my disposal, I am able to impose them freely, not only on so-called REALITY, but also on my biological locomotion. What I seek to bring about through this treatment is something of an energetic tension of sorts. This TENSION is intended to be the sense and meaning of this absurdist work; in other words, a way of granting articulation to matter which now exists independently of me.
Józef Robakowski (1975–1996)

Initial Images
(Structures of Energetic Force)
In his time, the genius who was Kasimir Malevich freed us from the typical work of visual art with his "black square on a white field". His IMAGE, a diagram of the energy of the "non-objective world", represents the now almost universally accepted model of the creative cosmos, constituting a screen for the contemporary human being's impressions and thoughts. To this day, this 'cosmic abyss' of his is read with passion by any number of distinguished artists who intend to 'cast a spell on' the painting once again. We undoubtedly all feel the necessity of creating a kind of 'visual silence' in order to set about constructing new icons from scratch… icons representing THIS time. It seems to me that this should be an INITIAL IMAGE, with its own intellectual and sensory potential encoded within it. In practice, it could be an ideogram of any kind, as long as it contains the potentially forcible conviction that it is a votive screen of interactive energy, absorbing and emitting our ideas and feelings.
Józef Robakowski (1975–1996)

Energetic angle II, 1975

Drawing, 1982

Documentation of monographic exhibition, The Artists' Museum, Lodz, 1992

Energetic painting, 1996

Energetic angles, 1998

Energetic angles, 1985

Energetic angles, 1998

Energetic angles, 1996

Energetic angles, 1985

Energetic angles, 1992

Energetic angles, 1992

Energetic angles

Energetic angles

Energetic angles

Energetic angles