Kacper Tomaszewski (b. 1999) – visual artist.
A graduate of the Academy of Fine Arts in Warsaw, he works with installations, objects, painting, and photography. As a member of the Good Death Institute collective, he explores themes of interspecies relationships and social behaviors. A love for dogs and an exploration of his own childhood are his main sources of inspiration. 
He presented solo exhibitions including: Dream Doggy, Dream… (Promocyjna Gallery, Warsaw, 2024), Trace (Marszałkowska 18 Gallery, Warsaw, 2023),  Lodge (Galleri Blunk, Norway, 2022), and Buciory (Brzozowa Gallery, Warsaw, 2019).

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exhibitions
Dream doggy, dream... IIDream doggy, dream...
Trace

works
Ursa Major
Brown Muffin
Fruits
Kiss me hard before you go summertime sadness
Game
Sparkle
Miss u
Totem
Love Island
Dogs

photobookYou were... You are..
e-mail/contact: tmszkacper@gmail.com
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Dream doggy, dream... exhibition at the El Gallery, 2025
curated by Maciej Bychowski
picture by Bartek Zalewski

The exhibition Dream doggy, dream... by Kacper Tomaszewski at Galeria EL is a profound reflection on grief following the loss of a beloved dog. Through sculptures, installations, and interactive paintings, the artist invites the viewer into a space where mourning and memory become tools for processing the emotions associated with loss. Tomaszewski’s works explore what remains after an animal passes away and how these memories shape our daily lives. The exhibition not only touches on personal experiences of grief but also becomes part of a broader dialogue about our bond with non-human beings.

Tomaszewski draws inspiration from the poem The Rainbow Bridge by Edna Clyne-Rekhy, which speaks of a mythical bridge connecting two worlds—the realm of the living and that of deceased animals. The poem expresses the hope that, after death, pets await their caregivers at the Rainbow Bridge, ready to reunite with them when the time comes. This metaphor, offering comfort to many who grieve, inspires Tomaszewski to create a space where death does not sever bonds but transforms them. His works invite the viewer to experience the mourning process in a way that intertwines the pain of loss with the hope of continued presence.

The theme of mourning animals has deep historical roots. In ancient cultures, animals played a vital role in social and religious life, and their passing was met with great reverence. Epitaphs dedicated to deceased pets expressed not only sorrow but also respect and love. Tomaszewski engages in dialogue with these traditions, approaching animal grief from a posthumanist perspective—treating it as equally significant as mourning humans and reinterpreting it in the context of contemporary experience.

The cloister of Galeria EL’s deconsecrated church plays a crucial role in Tomaszewski’s work. This space—situated between the sacred and the profane, transitional and open—perfectly reflects the nature of grief, which is both a deeply personal, intimate experience and part of a broader social ritual. The cloister immerses the viewer in a contemplative space where life and death are intertwined, with loss extending beyond physical absence into memory. Tomaszewski’s works, placed within this setting, create a bridge between past and present, life and death, reviving the memory of his departed dog through symbolic images, sounds, and material forms.

Contemporary pet cemeteries, filled with monuments, epitaphs, and symbolic gestures, have become spaces where people can bid farewell to their animals with dignity. In these places—just as in Tomaszewski’s works—grief takes on both emotional and aesthetic dimensions. Art historian Maria Poprzęcka, in her essay Sleep, Little Dog, Sleep, notes that in these cemeteries, among miniature tombstones, plastic flowers, and rainbow-colored wind spinners, “the foundations of anthropocentrism are subtly yet convincingly challenged.” Tomaszewski’s works evoke these spaces, where monuments to animals become sites of remembrance, and grief transforms into an active process of loss. Through his installations, the artist enters the realm of commemoration, inviting the viewer to a shared experience of mourning, where art becomes a medium connecting the worlds of the living and the dead.

Dream doggy, dream... is an exhibition that invites reflection on what remains after the passing of a dog who was a close companion for years. By incorporating the themes of contemporary pet cemeteries, the Rainbow Bridge, and the cloister of Galeria EL, Tomaszewski creates a space where mourning a beloved pet becomes part of a spiritual journey—blending memory, love, and loss into one continuous experience.

Text by Maciej Bychowski.

The first edition of Dream doggy, dream... by Kacper Tomaszewski took place at Galeria Promocyjna (June 4–June 22, 2024), curated by Aleksandra Liput.

Matronage: Institute of the Good Death.





Dream doggy, dream... exhibition at the Promocyjna Gallery, 2024
curated by Aleksandra Liput
picture by Marta Matysiak

When an animal that was especially close to someone dies, it goes to the Rainbow Bridge. There are meadows and hills for all of our special friends so they can run and play together. There is plenty of food, water, and sunshine, and our friends are warm and comfortable. All the animals that were ill and old regain their health and strength, and those that were hurt become better and strong again, just as we remember them before they go to heaven.*
The relationship between a human and a dog is a unique bond for Kacper Tomaszewski. These animals, known for their unconditional love and loyalty to their guardians, become not only our friends but also an inseparable part of the family.
In the exhibition Dream doggy, dream… the artist explores the relationship between humans and dogs, focusing on the difficult moments of farewell and mourning experienced after the loss of a "faithful companion." Tomaszewski addresses the social taboo and lack of understanding associated with the departure of a beloved animal, examines funeral rituals, and attempts to capture how interspecies boundaries blur.
Tomaszewski’s project is based on personal experiences of losing dogs: Hasia and Diego. By combining artistic practice with broader cultural contexts, the artist showcases the uniqueness and depth of relationships with animals. As part of the project, he invites others to share their stories of going through the painful process of grief.
*fragment of the poem The Rainbow Bridge by Edna Clyne-Rekhy, 1956, translated by Kacper Tomaszewski

Text by Kaja Werbanowska and Kinga Cieplińska.



Trace exhibition at Marszalkowska 18 Gallery, 2023
photo by Joanna Oginska

Drawing is one of the first conscious games that can be offered to a child. At first, random lines appear on a sheet of paper, in mismatched colors, to gain a specific form over time. Much depends on the child's observation skills and sensitivity, as well as the involvement of the parent, often imposing familiar cultural codes - we teach children that the sun is yellow and has parallel rays, and trees have green, symmetrical leaves.

Arno Stern, a French educator, has spent decades studying children's spontaneity in shaping painterly reality. In his publication "Discovering the Trace," he urges us not to interfere with the work of the youngest, and instead encourages us to look carefully at their works. From these it is possible to read much more than we think at first glance. However, it is important to do it carefully. Only then do we have a chance to see what the child wants to convey to us and what the real "trace" is.

Examples of archaeological discoveries show that drawing and the desire to leave a mark is originally ingrained in us. Although the ability to draw is possessed by everyone, not everyone perfects it, and if it happens otherwise it is usually necessary to limit ourselves to the classical ground. In the "Trace" project, Kacper Tomaszewski invites you to abandon all familiar schemes. The round, colorful objects he created are at the same time crayons, and the gallery walls are a canvas on which you can paint without limits. The form of the ball is the result of Tomaszewski's observation that, as a cultural animator, he noted that young children in particular find it much easier to hold a ball in their hands than a crayon. Combining the functions of these two objects allows the child to have more precise eye-hand coordination, thus having more fun and facilitating communication.'


Text by Karina Dudzińska.


Ursa Major
installation, steel, 2024
picture by Bogna Kociumbas-Kos

The work was exhibited as part of the Narracje #15 festival in Gdańsk, in the Niedźwiednik district, under the curatorship of Zuzanna Mielczarek and Mateusz Włodarek.

Kacper Tomaszewski’s installation is inspired by a decoration that once adorned the building at 7 Góralska Street. The bas-relief depicted the asterism of the Plough, part of the Ursa Major constellation. Originally placed on the block’s gable wall, it disappeared from the estate due to thermal retrofitting measures. The artist spent considerable time gathering information about the ornamentation, navigating the diverging memories of local residents. Only upon finding archival photographic documentation could he confirm that the bas-relief indeed existed and was not simply one of Niedźwiednik’s urban legends.

Tomaszewski’s installation is a spatial interpretation of the Ursa Major constellation. The subtly elongated shapes of the stars echo the form of the previous wall decoration, which has not survived to this day, evoking a “park of stars” open to direct experience and interaction. Some stars are movable, rotating in response to wind or touch. With its dynamic nature, the work appears poised to lift off and ascend skyward. Shadows cast by elements of Ursa Major fall on the building’s gable wall, where the original ornamentation was once displayed. The installation opens up a magical space that invites visitors to uncover Niedźwiednik’s secrets. Tomaszewski’s interactive work, set within the space, changes its appearance depending on the viewer’s position: each step around it reveals new dimensions of this cosmic narrative.


Text by Zuzanna Mielczarek and Mateusz Włodarek.



Brown muffin
object, steel, 2024
picture by Kuba Rodziewicz


Fuits
object, glass, glue, 2024
picture by Paulina Mirowska

Are the fruits of our labor sweet? For a fruit to grow, it needs not only tender care but also the glow of support, rays of motivation, and whispers of friendship. It is fleeting and fragile, nourished by the essence of positive experiences.
It’s not just a figure from our dreams but an ephemeral reminder of the power of inner blossoming. Each fruit, bathed in the shadow of dreams, hides within it a sweetness that we discover in the full light of fulfillment. Its delicate presence carries a quiet promise that every moment we dedicate to nurturing our visions and desires will yield a radiant, juicy fruit filled with the taste of hope and satisfaction.


Kiss me hard before you go summertime sadness
object, steel, plastic diamonds, crayons on paper, 2023
picture by Michał Pańczyk

The title of the object is taken from the translation of the lyrics of the song "Summertime Sadness" by Lana Del Rey. The object depicts a story of love longings, emotional romance, summer warmth, sparks of hope and faithfulness. It is an intimate confession, focusing on love's search, not only in interpersonal relationships, but also in the context of other beings. The object reveals our unchanging capacity for longing and devotion that permeates our being, regardless of our species or life form.


Game
installation, 2023
picture by Michał Pańczyk

Object is a game that attracts everyone with its colors and contrasts. It's not just an ordinary battle with classic soccer players in sports uniforms - here you will also meet extraordinary characters, such as unicorns or pony horses. This diversity makes each game unique and full of joy. The game can make us nostalgic for our youthful years, when we used to play hide-and-seek and tag. Now we can return to those carefree days,we just need to grab the sticks and start an unforgettable game. This work is not only a creative commentary based on personal childhood memories, but also related to observations about working with young people. In this work I try to combine different aspects, bringing joy and pleasure to all who look into it.


Sparkle
object, glass, glue, 2023
picture by Markus Heller


Miss u
object, wax candles, candle holder, 2022
picture by Michał Mańka

The object is an expression of the longing and hope we have for the beings we meet in our lives. The object is composed of wax candles in the shape of doggies. The symbolism of this work allows us to feel the emotions of longing for beloved animals that have accompanied us in the past or are present in our lives. The wax candles, each representing a dog, are a metaphor for the flame of love and devotion that always remains in our hearts, regardless of whether our companion is present or has already passed away.