"VICKY" by PIOTR BRANCZYK on paper 55x75 cm

Until recently I would not have described myself as an artist. Drawing, for me, has always been

subordinate to architecture and only gained its independence several years ago.

I began my education in drawing at the Youth Art Centre in Poland in order to prepare myself for

the entry exams into the faculty of architecture at the Silesian Technical University. During the first lesson

the teacher condemned my drawing, declaring, “You draw like an architect”. My heart rejoiced! Later, I

undertook some private lessons with the university tutors. I eventually passed the entry exams and was

accepted as an architecture student. Drawing was a big part of the curriculum back then and,

alongside architectural design, urban design and the history of architecture, the most important subject.

We were also taught sculpture and painting and took part in several summer camps, set in attractive old

towns, where we drew historical buildings in the streets.

During my studies, I stopped to draw for pleasure. I occasionally did a bit of busking during

summer holidays and contributed illustrations to a children’s magazine to earn some extra money and,

while in the army, I was even assigned to painting propaganda posters and designing military medals.

However I would tend not to draw, or paint anything, unless I had to. Especially later, while working as an

architect and spending day after day at the drawing board, I was not enthusiastic about more drawing

outside of work, and was, naturally, much more inclined towards photography.

Upon my arrival to Australia, I became excited by the cosmopolitan atmosphere of the early

1990s and got involved in art again, but this time more as a facilitator. In 1994 I became a founding

member of Ethnic Arts, a group of visual and performing artist from the Gold Coast, and, with them, I

organised a number of performances and exhibitions. A couple of years later, investigating opportunities

for self-employment, I became active in the area of illustration and started trading as Mockup

Architectural Illustrations. I joined the Association of Fine Artists and continued to draw illustrations until

the establishment of my architectural practice in 1999.

Then I discovered life drawing. The revival of my interest in drawing coincided with the

disappearance of drawing boards from architectural offices, which were being gradually replaced by

computer screens. Perhaps there was some connection there. In any case, I started to draw regularly

and accumulated a substantial body of work. The beauty of female form captured my interest and

became the dominant, if not exclusive, theme of my art. I can hardly justify drawing anything else.

Landscapes, apples and oranges seem to be such inadequate substitutes.