"However, if you can't write an existing text, I wanted to write it again"
(George Perec)

"Bagatelki" pictures are a series of ticket miniatures painted in tempera 1: 1. At first glance, in a cursory look, the pictures seem to be tickets in the strict sense. With a more insightful view, it turns out that they are painting, not without errors and shortcomings. They represent a real journey (from ... to) that took place at a specific time (dates). The painted ticket is displayed alone, without being compared to the original. Some of the repainted tickets no longer exist in circulation. They have become outdated or adopted a newer graphic design.

Derrida in the text "Margins of Philosophy" writes about what philosophy wants to forget. Small details, which seemingly are irrelevant, can change the interpreted text. Reproduced elements that seemingly are unnecessary, unsightly, dirty image, such as dirt, stamp, signature, imprint, turn out to be an important building block of temporality, uniqueness. Specific dirt causes that this ticket ceases to be a mass, serial ticket, and becomes the only ticket, a carrier of a certain mood.

The title "Bagatelki" can be considered in two ways. First of all, it describes the ticket as an inadequate painting topic, and secondly: it refers to the errors and soiling that make it unique.

Ticket recording can bring back memories but it doesn't have to. Just like the carrier of memories are Magdalena in Time Found by Marcel Proust. What is important to the author seems less important to an outsider. We are not able to create a universal language that would be transparent in relation to reality because there is no one hundred per cent reference to what was. There is no perfect representativeness.

What is interpretation really? In-depth analysis or creative action?

There is a policy in every action, one being replaced by the other (Stanley Fisch)

The trifles can be an attempt to authenticate an event through the most mechanical record. At the same time, each representation is crippled. It remains a self-representation. The defeat suffered is the lack of adequacy of the record to what it refers to (certain reality). Painted tickets, despite referring to feelings from the past - to certain specific experiences, events, places and dates are not impressive - they lack nonchalant painting gestures. They talk about experiences in the most mechanical, "copyists" way. They require total concentration, commitment and patience of a monk who once rewrote the holy books. Striving for max. savings in expressing gestures, but does not make them technical objects, "dry" (dirty gestures). Mentioned Derrida in the text"

Small bags - ticket pictures indicate some bipolarity. On the one hand, they show the pursuit of perfection in copying. They are an attempt to completely objectify - they want to be as perfect as possible, technical, industrial as if they wanted to catch up with the machine. On the other hand, technical shortcomings caused by hand and eye deficiencies, specific ambiguities, show the impossibility of achieving perfection in a machine record.

"Printed magazine is a real triumph of detail"
Olga Tokarczuk