The noble timelessness of Cezary Bodzianowski’s artistic persona maintains some distance and resistance to every situation he gets involved in. Bodzianowski is a passer-by, a flaneur in the very anachronistic, uncorrupted sense. He converts and adds to a given situation certain activities and objects which become metaphorical in a whimsical way and intensify the meanings and atmospheres of social, historic, or political settings.

Arriving in New York City for the first time in his life, Cezary Bodzianowski reacts to this new urban circumstance in the same way. The project Charlestone – evoking the ungraspable past of the city – formulates in a unique and poetic way the artist’s perception of the city as an entity that is only accessible to a very relative extent. The sensation of a slight, curious discomfort is expressed in the gallery space in this enigmatic intervention vaguely reminiscent of an early Polanski scenario of obscure alienation.

        - Anke Kempkes, Broadway 1602

A standard element [in Bodzianowski’s work] is irony as Rorty understood it: the continuous undermining of a single accepted way of describing the world, and challenging the very existence of such a description. Instead, many possible answers are offered. Stylistic inconsistencies, superfluous clues and figures incompatible with the overall narrative situation are the clearest indicators of fiction.

  - Joanna Mytkowska, Games of Rhetoric, in: Cezary Bodzianowski, Foundation and Revolver, Warszawa, 2003

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