This sense of presence in absence emanates from, but is not simply reducible to, the representation of ordinary objects and spaces, brought to appearance in recollection as the trace of the artist's agency as silence and stillness. Though these are paintings of quotidian objects and spaces, the quotidian is rendered enigmatic. The means by which the enigmatic is accomplished are clear enough. Perspective shifts from the grid as the symbolic form of the mensurable 2 to an idiosyncratic space, flattened yet with an indeterminate depth. Color is intensified.
Objects appear more as luminous than illuminated.
Scale is altered. None of this is unprecedented, at the end of a century unprecedented for formal invention in painting. In Pawlowicz' paintings, these formal inventions transforming the commonplace serve the end of the precise articulation of the spatialization of the self, interiors which are manifestations of interiority. As in artworks generally, as distinguished from mere representations, the means of representation is used in a way not exhaustively specified after exhaustively specifying what is represented. This does not of course obviate undertaking a specification of the means of representation or of what is represented.