1993 Staff Training Center in Lauf, graphics
The 2th International Expo in Rzeszow painting
1994 TAB Gallery in Cracow, graphics
1995 Gallery WDK in Rzeszow, painting
Gallery of the Siemens AG in Erlangen/D, painting and graphics
Klepacki Gallery in Lauf, painting
1996 TERZIA Company in Bonn/D, painting
Psychiatric Company in Koeln/D, painting
Managemant Academy in Lauf, painting and graphics
1998 BWA Gallery in Gorlice, painting and graphics
1999 Managemant Academy in Lauf/D, painting and graphics
2000 Rabigal Gallery in Nuremberg/D, painting and graphics
2001 Maska Theater in Rzeszow, graphics
2002 Szalom Gallery in Cracow/Pl, graphics
2003 Town Theater in Rzeszow, painting
2004 German Federal Employment Agency in Nuremberg/D, painting
2005 Podworze Gallery in Rzeszow, graphics
Malopolska Art Gallery in Gorlice/Pl , painting
2006 Town Gallery BWA in Rzeszow/Pl, graphics
1993 The Fourth Biennal Academics of Visual Arts in Maastricht/N
1994 Art Expo in Frankfurt/Main/D
Young Graphic from Cracow ZABO Gallery in Nuremberg
Confrontation in Myslenice/Pl
1996 Child Unicef in Rzeszow, Walbrzych, Zielona Gora, Warszawa/Pl
Badischer Kunstverein in Karlsruhe/D
1997 Art WSP Szajna Gallery in Rzeszow
Neumberg – Cracow, Noris Halle in Nuremberg and Arsenal Gallery in Cracow
Szalom Gallery in Cracow
1998 Magnez Gallery in Przeworsk
1999 Magnez Gallery in Przeworsk
2000 Artists of south-east Polend in Rzeszow, Krosno/Pl
Magnez Gallery in Przeworsk/Pl
2001 Light objects in Café Loza in Cracow
2002 Ignis Gallery in Koeln, painting
2004 Prints from Krasne in BWA in Rzeszow
Gallery of the Castel in Przemysl/Pl
2005 Neue Kunsthalle in Duesseldorf/D, painting
Przesztrzen in Kiev/U and in Wilno/Lt, painting
Pryzmat Gallery in Cracow , graphic
Tomasz Rut
1968 born in Zabrze
1988-93 studied at the Academy of Fine Arts in Cracow
1991-92 at the Academy of Arts in Nuremberg
1993 graduated from Department of Graphic with Master of Fine Arts degree
1993-96 teaching assistant of painting at the Department of Graphic
at Cracow Academy of Fine Arts
1997 teaching assistant of graphic arts in Fine Arts Institute
at the Rzeszow University
2000-2002 teacher in Art Fashion Design Colleuge in Rzeszow
2002-2006 artistic director of the City Art Gallery BWA in Rzeszow

I find inspiration for my work in Nature and in processes related to Nature, however unlikely it may seem at first glance. These processes stem from Nature itself, and include those that occur with some participation by man. This latter participation is my presence, consisting of the observation and sensing of the phenomena that occur within objects, in envisaging internal feelings, shapes and thoughts, the tension in relation to the real world and the imaginary, or sensed, world. The inspiration for my work combines literature and modern science to the extent that it creates belief in the greatness and uninhibited development of man, in that constant drive for something new and great, and yet very often something that cannot be grasped, existing as it does as sheer fantasy.
In the years 1994-95, I was looking for a subject that I could use as the basis for the continuation of my dissertation and the hypotheses related to it. I was looking for a universal subject, an arena in which all the phenomena could take place, those that are inspired by the greatest poems of humanity – the Mahabharata, the Bible, the Apocrypha, prehistoric findings that touch the sphere of absolute fantasy and about which our understanding is shallow, Machiavelli, wars, existing and lost cultures, the distinctness of nations, the common denominator of the human mentality, emotions – simply – everything. It was intriguing to build an environment to express it all and, within its framework, to look into and to make subjective assessments at the level of a single piece; a painting or a graphic.
It was at that time, or perhaps it was earlier, that my attention was drawn towards time as a universal set. At that point I did not yet know how I could link the concepts and feelings within the form of a piece. Then I observed a stone thrown into the water when playing ducks and drakes, although it may have been inspired by Kandyński’s theories on the action of a line in connection with colour. The broken line creates tension, the degree of the angle displays information on the suddenness and level of emotion; I ascribed these features to the broken line, though at a somewhat later date. The break in the line is a point – this is me and my experience - while subsequent lines map out the course of my feelings, determine the lifeline, the phenomena. Any phenomenon radiates through our conscience, in the conscience of others, giving rise to further consequences; it is a consequence of previous phenomena and drives the formation of new ones.
This is how I started to record phenomena from the surrounding world, and this also marked the beginning of the recording of my thoughts and feelings in this way.

The suddenness of the phenomena is signalled by the number of lines, by their immediacy and particularly by their colour and by how this can be expressed. Together these elements determine how intensely the phenomenon is being experienced.
A significant stage was achieved when these records were transposed onto the existence of parallel worlds, with a time-shift between them caused by the phenomena occurring within them. I will not conceal the fact that I was inspired by the Bible and also by the achievements of modern theoretical physics, including the work of Hawking.
This model contains several ins and outs, as well as facts. The consequences of an occurrence in our time phase reaches out to other worlds too, worlds that are shifted, with the consequences leading to events we cannot distinguish. Even in our own time phase, an occurrence (a meeting, a conversation, an experience, etc.) invokes some state within us, some kind of emotion. We are aware of a part of this occurrence, the rest remaining in our sub-conscience, both leading to further consequences. It is like an iceberg, a tenth is visible above the water. Mental phenomena are exactly the same; the largest portion exists in our sub-conscience, influencing the way we act. They often emerge after some time has passed.
There are “travellers” between the worlds, between these time phases, exceptional places. The schematic meaning of “traveller” is the depiction of the hyper-conscience, etc.
This is my first attempt at picturing the foundation of my work; as a matter of fact, it is a selective outline of the subject matter and the manner of thinking. However, within the framework of the modelled environment that has been created there are many yet unportrayed and tempting issues, special places I sense and towards which my thoughts turn.
Tomasz Rut