Pawel Ksiazek usually structures his series of works around a relationship between film and architecture. For many years Ksiazek investigated eastern European modernist architecture of the inter-war era. One of the most important figures of this movement was polish architect Lucjan Korngold whose work is referred to in Ksiazek's renowed Silent Utopia project. His latest body of work focuses on the phenomena of Latin American modernism and refers to works by Niemeyer, Barragán and in particular - Lina Bo Bardi. Pawel Ksiazek researched and discovered that in 1948, in São Paulo, Lina Bo Bardi's studio was established on the 18th floor of a building designed by Lucjan Korngold. He became a naturalized Brazilian citizen in 1949, three years before Bo Bardi, (Lina in polish means "rope"). This coincidence seems to describe the approach of Pawel Ksiazek to the medium of painting. His work draws the line between historical movements and artifacts, architectural and film motifs are tied together in new constellations. His works, as a result of imagination and wide research, unveil invisible links. Archival materials are mixed and reconstructed in a way that suggests painting as straightforward speculation. This new body of work marks a shift for Ksiazek in his practice in the decomposition of the representation. Here, his interpretation is far more expressive, boarding on the abstract with his introduction of Barragán colors. These current paintings continue to reflect his fascination with old film stills, merging them with selected architectural details enhanced by his skillful use of light as if frozen in Time.