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Landscape, for photography is a topic that is a source of many inspirations. It is connected, first of all, with the constant human need to document the surrounding world, and secondly with the historical relations of the medium with painting. Until the 1970s, this relationship belonged to those turbulent in art: full of mutual reproaches and animosities, was inter alia associated with attempts to develop new solutions for a common heritage.
The landscapes that the artist creates with the help of a camera captivate with minimalism and a painterly abstract gesture with which colorful spots are laid. In these implementations, snow is a delicate and surprising texture for the canvas for Dziennik. He fills the staff almost entirely.
The title "scope" for the artist is, among others, a skillful juxtaposition of details of snowy landscapes with photographs on which mountain peaks are more visible. In this way, the cycle combines elements of abstraction and classical landscape. This introduced balance together with the contamination of the white surface of individual images makes it difficult for the viewer to recognize what landscapes are being measured.
Dziennik's interference in the naturally occurring landscape by adding dyes brings associations with the heritage of broadly understood land art, which took natural space as the main material for processing, and the resulting installations could often only last thanks to photography. The painting gesture used by Pszemek Dzienis re-opens the definition of photography as painting with light, which was promoted by one of its pioneers - Talbot. The most important, however, is the color collided with the landscape itself. The new element in the works of Pszemek Dzienis, apart from interest in the landscape itself and work outside the studio, is the spatiality of works. As a result, from flat photographs hanging on gallery walls, some of them begin to take the form of three-dimensional objects.