A certificate of authenticity sounds serious and is sometimes a worthless sheet of paper. What such a document should contain, where and with what I sign my work, and why it matters to a buyer.
Before choosing a subject it is worth choosing a medium. Oil, watercolour, print and photograph behave differently in light, tolerate damp differently and cost different money. What that means room by room.
A painted meadow usually fails the same way: instead of plants you get a green rectangle. I explain where that comes from and how I build a meadow in layers rather than in one colour.
You do not have to leave Warsaw to see a meadow in flower. I list the places named by the Warsaw greenery board, the plants that grow there, and what survives of them once they reach my photographs and paintings.
The question I hear most often: is this painted from life. I explain how long a flower lasts as a model, what a photograph takes away, what you cannot see in front of the plant, and why I use both sources at once.
A picture full of rhythm and form in which no species can be named does not come from nowhere. I show four routes a plant takes towards abstraction, using works held in museums in The Hague, London and Chicago.
A flower painting looks different on a wall than on a screen. I list places in Warsaw where painting with plants can be seen in the flesh, with room numbers and addresses, and say where my own pictures are.
Paintings with plants are sold under four different names, and it is easy to buy something other than what you were looking for. I set out what each one means and how to tell which is which.
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