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

When we preserve various views of the world around us in photographs, we generally do so in the conviction that we have 'caught' the way it looks.
The result of this operation is a very human satisfaction at having preserved for all time a multitude of situations in our existence, important and trivial alike.
This conviction is also strengthened in us by Maya Deren; to her, photography is a form of reality itself, since, in a photograph, an object creates its own image by radiating its light onto photosensitive material. Human participation is excluded from this process. Hence the authority of photography's reality. 'Reality'; this is the magical power of the photographic image. Yet, when we examine this question more closely, it turns out that what we are dealing with is a sui generis mystification which is brought about by our comfort and sense of security, since this magical power of photography is a matter of convention… it is only a semblance of reality itself. It transpires that, in its very nature, the photographic image is wanting, it contains gaps, in other words, Abysses that we fail to notice when perceiving the scenes which have been photographed. In the face of a photograph, it is as if we dissemble, pretending that it is more perfect than we are… it is both laughable and touching that we have allowed ourselves to be caught in a trap of our own contriving.
Józef Robakowski (1978)