The first thing that caught my eye walking into Henryk’s Iberian-style home in North Sydney’s Killara was the myriad of artworks—mounted on walls, leaning against sofas, sitting on tabletops—commanding every room. It was clear that this home was brimming with creative energy.

While the soft, tonal paintings of fellow artist and Henryk’s wife, Amelia Axton, made a striking impression, Henryk’s bold, textural pieces injected a burst of colour into each space, as they awaited their journey to new homes or art galleries for show. One piece was rendered in a vivid Yves Klein blue, another in a playful bubble-gum pink, a third in a rich indigo-burgundy. Even the facades of his garden walls were works of art—meticulously hand-stuccoed by Henryk himself, with the same gestural, three-dimensional finish as his pieces. 

Surrendering to his mediums, Henryk is guided by intuition and being present in the moment, blurring the lines between painting and sculpture to craft tactile works with a vigorous, expressive energy—like paint strokes from a larger-than-life brush. Resonating with this dynamic approach to making, we invited Henryk to create an undulating piece for our Mark of a Milestone project—drawing inspiration from our new brand symbol—rendered in our signature Comosa green. 

We caught up with Henryk in his home to discuss his meditative process and how texture and curiosity are central to his distinctive craft. 

“I love balancing and pushing that 2D narrative as far into the 5D as physically possible.”

Hi Henryk, your work is known for its raw, textural quality. What initially drew you to using materials like concrete and polymer in your art?

I like to push everything to the limit. Paint was always expensive, and I knew I wanted to use a lot of it. I couldn’t fathom ever using so much. It took us finding a bit of financial freedom to do so, after we sold our home and, as fate would have it, it coincided with eight months of no work during COVID.

So I bought a lot of paint and canvases and became a kid again—it was a really beautiful creative journey. I think I was subconsciously always working up to this. I think we all just want to feel something, I want to feel something. It was a way of breaking out of the 2D realm and into the 3rd, 4th and 5th dimensions. Acrylic paint and gels were the first things I tried, and I still use them in the same way (my Solid State series). Then I wanted to see more height in my work, more texture, and more of a raw emotional response, and that’s when I moved into also using concrete and polymers on board (Ultra Matte series) which took a lot of testing. But that gave me the height and intensity I was craving to see in the artwork around me. 

Comosa Green Ultra Matte 'S-stroke'

The stuccoed exterior of Henryk's home

How does being a self-taught artist influence your creative process and approach to sculpture?

It’s funny but I see myself as a painter, not a sculptor. I love balancing and pushing that 2D narrative as far into the 5D as physically possible. I think that was what I was sent here to do; expanding art in my small way. 

I actually have a deep belief that, subconsciously, when people interact with my work it can effect change and possibility within that person. It’s like I can show people expansion so they can expand themselves, towards something they are working on. It’s a knowing I have inside me.

But to answer the question, I feel the best way to learn is to do. And the knowledge you need will find you when you need it. But childlike curiosity is key. 

Your art captures the essence of the creative process rather than striving for perfection. How do you balance spontaneity with control in your work?

I’ll try to explain it with an analogy: When I drive my car fast and have to react quickly, I push myself into a flow state of only driving and nothing can get in the way of my mind’s eye in that minute—I’m completely focused on that one moment. So when I create my art, I like to force myself to work with mediums that want instant reaction; and I trained myself to be completely connected to the source for those interactions. I feel my calling is to find perfection in the second.

Sometimes the mistake is the most perfect piece, and sometimes it doesn’t even feel like it’s me deciding each second, because I’m co-creating with a universal force that joins me (if I painted slowly I allow thoughts in front of my mind’s eye, things that could interrupt the flow.) However, if I look at the work the next day and there is something off or out of balance, then I can always add to it. I have figured out ways to do it but it’s not done in a flow state, it’s just ‘editing’—I try not to do this too often as it can feel disingenuous to my work.

“I decided to show the ‘feeling’ of the symbol and the poetic nature it holds.” 

Can you tell us a little bit about the piece you created in response to our new symbol and artistic brief?

There is so much natural and beautiful flow within the symbol. I could have created a type of replication of it in my style of concrete, but I decided to show the ‘feeling’ of the symbol and the poetic nature it holds instead.

Can you talk about the moment you knew you wanted to pursue art full-time?

Everything kept on showing up as a big yes when I started painting. The first two big yeses were when Dannii Minogue and Kellie Hush (former editor of Harper’s BAZAAR) bought commissions for their homes very early on. There is always more growth and opportunity to expand my creative endeavours with clients who resonate deeply with my work around the world. 

The artfully composed living room of Henryk's home

Henryk in his home studio

“Breaking away from established norms allows for a freer exploration of materials, techniques, and concepts. It opens the door to innovation, enabling me to push boundaries and create art that feels more personal, dynamic, and authentic.” 

Your sculptures have been described as gestural abstractions. How do you see movement and gesture playing a role in your creations?

It’s everything. 

You've worked with high-profile clients and shown your work internationally. How do these experiences influence your art?

They just always make me open to more and more opportunities. I’m very grateful.

What challenges and opportunities have you encountered by not adhering to traditional artistic conventions?

I think everything is to gain and nothing is to lose. By not adhering to traditional artistic conventions, I see only opportunities and limitless potential for growth. Breaking away from established norms allows for a freer exploration of materials, techniques, and concepts. It opens the door to innovation, enabling me to push boundaries and create art that feels more personal, dynamic, and authentic.

A textural detail of a work in progress piece

How do you ensure that each piece you create retains that "in-the-moment" energy that defines your work?

I always stay connected to the source before I pick up a brush. That’s what it is all about. 

What’s exciting to you in art right now and how do you see your practice evolving in the future?

I’ve found a new way to use oil paint. (New to the world at large? Probably not, I’m not sure, but new to me!) and it dries quickly! I found my oil paint. That’s exciting to me, so all the acrylic-based colours I made that I was desperate to use but failed dismally, I can now try again with Oil paint. That’s my focus right now, pressure testing oil.