Jacek Dyrzyński described the square as a perfectly natural and ideal form. He claimed that he had rejected 'all other formats due to the tendencies they contain'. He elaborated on that theought, saying that 'the horizontal rectangle [...] is burdened with associations with a landscape, while the vertical one – the metaphysical orientation of its main axes'. In his view, the square is free of any allusions and thus a perfect format for his explorations.
Created in the course of more than fifty years, Jacek Dyrzyński's works can be classified as geometric abstraction but are highly singular. The artist has an independent nature: he creates his paintings in his mind, never sketches his ideas, and has faith in his eye, knowledge and intuition. His art demonstrates many convergence points with op-art, a tendency born at the turn of the 1950s and 1960s. Just like his international predecessors Dyrzyński works with extraordinary optical effects, illusion of movement created by rhythmical arrangements of relief forms. The undulating convex and concave surfaces covered with multicoloured dots bring to mins pointillism; spinning squares within squares, diagonal cuts, glimmering metallic discs, corrugated cardboard, expressive textures, openwork connections, interpenetrating layers of structures made of colourful sticks – all of these give the impression of ephemerality, dynamism, changing impressions that lure and captivate the beholder's gaze.
