Robert Listwan can be anyone except himself. He uses thousands of schemes to hide his true self. Who is all this for? Most likely just for himself. He hides deep beneath his camouflage and waits there like a snail in a shell. He protects his true and gentle nature. He dons different masks to scare the viewer away from the true point of the matter. Or is he maybe a dragon’s egg? Immature Robert sits in his eggshell and is he just waiting to present himself to the world when he’s ready? Meanwhile, he shows us colorful and sometimes monochrome illusions, deceptive images which, like a kaleidoscope, change from one to another. Sometimes they are perfectly detailed, almost photographic, while at other times he slashes the canvas with brush strokes like as if he were using daggers.
Through his perfect, almost photographic drawings, he shows us his illustrator’s mind. He unrolls before us the images of his exuberant imagination, a world which in his mind is not the same as in our usually organized heads. He bows the hem of his secret … bit by bit, a little here, a little there … he might rush somewhere, but fixes it up … until at some point he finds the perfect task for himself. He has faced the master of intricacies,
Prince Bishop Ignacy Krasicki. And at this point I’ve figured him out. I wondered for a long time where I’d get this conjurer and joker. Krasicki’s centurion has illustrated so many of his fairy tales so well that there are as if twice as many. First he tells the story by word, and the second time through illustration. The fun part is when we try to weave together the plots. It’s like a cubic puzzle. Coherent in its apparent chaos. And this is Robert Listwan. Unusually consistent and coherent in his surrealist organization.