Kacper Tomaszewski is a visual artist working across installation, object-based work, painting, and photography. He is a graduate of the Academy of Fine Arts in Warsaw. His practice investigates interspecies relationships and the emotional and material forms of care, grief, and intimacy that arise between humans and other living beings.

Tomaszewski’s work draws attention to what is fragile, marginalised, or difficult to articulate—moments of tenderness and loss, overlooked modes of existence, and subtle emotional states that often escape language or visibility.

Since 2024, he has been connected with the Institute of Good Death, where he co-develops projects situated at the intersection of art, education, and mourning culture.

He is the author of several solo exhibitions, including: Whoever lives here will always be losing something (Przeciąg Gallery, Warsaw, 2026), Home Sweet Home (Łęctwo Gallery, Poznań, 2026), Because I'm pretty when I cry (Labirynt Gallery, Lublin, 2025), Dream, little dog, dream… II (El Gallery, Elbląg, 2025), Dream, little dog, dream… (Promocyjna Gallery, Warsaw, 2024), Trace (Marszałkowska 18 Gallery, Warsaw, 2023), Lodge (Galleri Blunk, Norway, 2022), and Boots (Brzozowa Gallery, Warsaw, 2019).

home

cv
exhibitions
Whoever lives here will always be losing somethingHome Sweet HomeBecause I’m pretty when I cry
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
instagram
offer

Whoever lives here will always be losing something exhibition at Przeciąg Gallery, 2026
a duo exhibition with Jan Możdżyński
curated & text by Mateusz Włodarek
picture by Szymon Sokołowski

In their most recent works, Jan Możdżyński and Kacper Tomaszewski construct topographies of memory. They are interested not so much in what we remember as in the ways we move through memory: where we pause, what we return to, and from what perspective we look at the past. Możdżyński paints scenes that never happened, such as walking a dog he never had or a cat behind the wheel of a car. These images emerge from very real emotions: grief, relief, and longing for which reality has made no room. He introduces objects remembered from home, from a chest of drawers to his brother’s computer, rendered in a muted, fading palette. Tomaszewski, by contrast, starts from places that once existed. His steel sculptures, mounted on wheels like office chairs, speak of moving house. Through them, he asks whether it is possible to feel at home again in a place one has left behind.

The exhibition title is a quotation from Yōko Ogawa’s novel The Memory Police, in which loss is not a catastrophe but a condition of everyday life. The same is true of Jan and Kacper’s practices: the former creates places for what never happened, while the latter explores what remains of the places he has left behind. Neither asks how to avoid loss, but how to inhabit a world in which loss is inevitable.