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Damen-und Herrenzimmer
(Woman’s and Man’s Room)  
Museum Haus Esters, Krefeld, Germany
tempera, pencil
typeface: Gill Sans

Drei Räume (Three Rooms)  1994
Galerie m, Bochum, Germany
typeface: Spartan

Fünfgeteilte und gerade Wand
(Fivefold Divided and Straight Wall)  
Westfälischer Kunstverein Münster, Germany
tempera, wall-engraving
typeface: constructed


Bootskeller (Boat Cellar) 1998
Pillnitz Castle, Dresden, Germany
Chinese ink, tempera
typeface: Ehrhardt

As the graphic sketch on the block of stone marks the slumbering sculpture within it, signs painted on a wall can indicate architectural structures and spatial relationships, can retell the factual and make the imaginary visible. — Eva Meyer-Hermann


The lack of fixed form provokes spatial perception rather than simply seeing; Zamojski’s work shows that it is the aesthetic viewpoint, the activity of the beholder, that constitutes art, (…) He does not follow a strict rule as Conceptual artists do, but rather playfully reinforces relationships and asymmetries of the given spatial situation, so that viewer becomes aware of his perception of space. Zamojski confronts the space with itself so that perception is thrown back on itself. — Christan Rode



Zamojski favours a periferal zone. A regulating structure unfolds there, similar to a language, obeying a clearly structured grammar. However its tendency to generalize is offset by a residue of the non-verbal, which can not be absorbed into a system of meaning. Accordingly the viewer’s activity alternates between an instructive reading and pure reflection. (…)

The field of signs, which at first glance appear purely abstract are given a latent pictorial character by the precisely calculated formal construction and this configuration of colour. In a way, with them Zamojski has established a link to the mythical origins of writing, as in the hieroglyphs, when the relationship between the signifier and the signified was a close one. The reality to which it referred was preserved in the sign itself – reality was not simply extraneous to it – through which it acquired a potential visual character (…) — Heinz Liesbrock



The paradox of clarity and indistinctness intensifies the desire for an intellectual exploration of the constellation. The conflict is conciously calculated: this dilemma of seeing and not recognizing slows down the perceptual process to a natural speed and sensibility, forcing one to look more slowly, closer and carefully. To understand the letters means to spell out the room. (…)

The reciprocal exploration of intellectual ordering systems and concrete spatial situations is fundamental to Piotr Zamojski’s works. The operational practices and the selected ordering systems change and depend on the spatial situation of the project in question. The choice of operative models is interchangeable but is not random. Should a sense behind such an order be required it is valid to admit their freedom from such questions. This is why each project can be viewed as a game in Huizinga’s definition of the word as a“… voluntary act or preoccupation, performed according to voluntarily received but unconditionally binding rules within certain boundaries of time and space; which is an end in itself and is accompanied by a feeling of suspense and an awareness of being different from everyday life“. (…)


The position and valency of the projects can be phrased in terms of the space: the actual space is reflected in the abstract signs and terms and then actualized in the signs in the space. Painting takes an intermediate position somewhere between the concrete and the abstract and its reflection: it is both a result of artistic reflection and a starting point for gaining an understanding of the space. (…)

In his search for an explanation of reality in terms of order and harmony Piotr Zamojski’s works recall an ancient cosmogony. And just as the multitude of stars facilitate navigation for the seafarer when they are combined with one another to form pictures, so Zamojski uses pictures to provide orientation for the space. It is no coincidence that for the ancients the order in the heavens counted as the true embodiment of beauty, the regularity of its order was their cosmos. Similarly Zamojski’s projects are sustained by a longing for meaning in the world, which puts them at odds with the explanatory power of the modern age. — Michael Vignold



Piotr Zamojski’s work examines the existing exhibition space and uses it as a fixed frame of reference. The result is associated with a second level, which he derives from the thought space of the exhibition location. Both parts are connected in such a way that a mutually dependent image complex is created, in which elements of painting, typography and sculptural-architectural thinking (Heinz Liesbrock) are united. — Dirk Welich



At first glance Zamojski’s murals looked like ornaments designed to embellish the room, to, so to speak, „enhance“ the room. The coded messages of the logical system become increasingly apparent to the viewer, but hardly in their entirety. The room is experienced in a new way due to this process of reflecting while looking and looking while reflecting. Moreover the interventions are minimal enough not to affect the existing character and life of the room. Zamojski’s commentary both conjures up and elucidates the genius loci. Somewhere between magic symbols and rational descriptions, his notations represent artistic exersises -in the best sense- they liberate and stimulate the freedom of both the senses and thought. — Tim Sommer