.....The art works of Jack Kozielski remind us of works of German Expressionist art movement that took place before the Second World War. Emil Nolde, the Brucke artist, for example, used similar forms and intensive expressive colors.
Kozielski's landscapes are soaked with hues of hot reds, oranges and yellows. Rhythmic lines are used to define form and loud color is used to accentuate its pictorial expression.
Kozielski's creativity is an outcome of his fantasy but also inner consciousness and understanding.
The symbolism in his pictures is used as means of the artistic expression of something very direct and provocative, but it also leaves space for personal reflection and interpretation.
The landscapes,in particular, carefully balanced in composition and color, seem to describe the world in the aftermath of post-catastrophe. But the drama portrayed is subtle and reflective and it doesn't ascribe to particular emotions but it questions them........

D. Boron, 2002

.....Jack Kozielski is driven by aesthetics. He has successfully integrated a practical medium with a reflective medium. His jewellery designs, both functional and one-of-a-kind represent a living statement of form worn by their owners. Through the mixed medium of polaroid prints Jack uses colour and form to capture reflections from time past and images of the human condition. A thorough knowledge of production processes married with aesthetics, allows Jack to move from one medium to another. This freedom and flexibility allows him to move easily from a direct and provocative creation to a subtle and reflective interpretation....

Ian Cooper, 2003

Painterly Photography

Language was never my medium of choice. I never trusted words because of how insufficient I found them to be in reaching and expressing my imagination. I simply couldn't employ words in conveying the state of my soul: to capture that moment of enthusiasm, or event to express to woman what it was about her that had fascinated me. With time I discovered that I could do all of these things through visual image that soon became my vehicle of choice in communicating things that were important to me.
My childhood and teenage memories of fear, happiness, triumph or shame are visual images etched into my mind. I could easily spend hours recounting pictures, details of that expand to cinematographic proportions in my mind. Things that have become more than flashes and glimmers of life because they have become absorbed by the emotion of the moment when they were born.
When I began to paint, I simultaneously became interested in photography. Soon I discovered in photography, what I had been seeking in painting. Looking at the works of the masters, I don't see the thousand touches of the brush, the hours of mixing paints, the tedious sketches comprising the work. I see only the finished product. Its emanating emotion cannot be described by explanations of technique and content. Photographs also emanate emotion, and not only old daguerreotypes whose individualistic character is largely the result of lengthy posing.
For me, a camera is as much a technical instrument as a pencil, pastel, brush or chisel, but I think it is better compatible with my impatience then the rest. Thanks to photographic technique I can capture the images that I discover in my surroundings. Manual artistic manipulation finishes my final product and because of reproduction techniques my work is classified as graphic art.
I am a child of the city and I think that this is apparent in my work. I am not, however, a sociologist or a psychologist who uses his camera to portray social issues, inequalities, characteristic city-types or touching scenes. I enjoy discovering cities through how people live. I am interested in getting to know people by where they go, what they leave behind and the signs by which they mark their surroundings. In composing a piece, I think of the subject as the setting for a drama of light and shadow play. I am especially fascinated by how illumination lends an aura of significance to objects, transforming the ordinary into the extraordinary. I want to freeze those moments that catch a glimpse of something breathtaking and preserve that feeling on film. Photographing is poetry on paper or canvas. For me it is about the spirit of a place or an object. It is about the way I felt.
Ultimately, what I like is to create images of heavy emotional value, whose existence inspires contemplation. I believe that an artist's focus is founded on a few basic elements: eternal life experience, emotion and drama. And it is through the use of color that these elements are expressed, everything from euphoria to depression or even fear or ambivalency.

About technique

Polaroid image transfers are an experimental medium of Cross-over-Art that uses Polaroid film and technology to create images which combine photography and hand-crafted printing technique.
By exploring the unique variables of the image transfer medium, I mix the artificial with the natural to create images that are at once lyrical, surrealistic and jarring. In my work, I attempt to communicate to the viewers that there are more nuances to beauty than the casual observer sees.
The creative proces begins with the composition in color transparencie which then is transfered onto paper by means of hand-printing it.
Some images have been hand - tinted, toned, or otherwise manipulated.
The prints are done on hot-press or cold-press, 140-300 Ib. Arches 100% cotton rag, acid free, archival watercolor paper.