Marcin Jachim – Portfolio

Windows (2025)

The project was developed within CE1–7 (Painting Department Consolidation). It began with a field archive of photographs of frames, windows, and screens, then tested how an image shifts across media: digital layering and edits, quick pastel studies, and finally acrylic painting.

The “window” operates as both structure and metaphor—between inner and outer states. The installation paired Allaprima Series I–III (acrylic on canvas) with the digital piece Move On; recurring fractured grids and circular tensions remain, but each medium filters sensation differently, opening a suspended space of perception.

Medium: Digital print on archive paper, acrylic on canvas

Love Letters (2017–2025)

The project is an extended investigation into alternative forms of communication through art. Over eight years, individual works spanning painting, photography, digital media, and animation were shared on Facebook as a form of visual correspondence with someone unreachable through conventional dialogue.

The project examines how artistic expression functions when direct communication becomes impossible, transforming social media into an exhibition space for emotional expression. Each piece served as both autonomous artwork and coded message, exploring the boundaries between private feeling and public presentation, between art as personal catharsis and art as communicative act.

The work investigates duration, persistence, and the role of social media platforms in contemporary art practice, while documenting the evolution of both artistic voice and emotional landscape over nearly a decade.

The project concluded in 2025, marking both an artistic and personal closure- the end of an eight-year attempt at connection through public gestures in digital space.

Medium: Digital (animations/GIFs), oil & acrylic on canvas, mixed media, drawings on paper, collage

Mobile Artworks (2014-2015)

The project represents individual experiments pushing the boundaries of smartphone technology as artistic medium. Each piece explores different conceptual territories - from digital collage to symbolic imagery - using the creative applications and processing capabilities available on mobile devices of the era.

Working within technical constraints of early smartphones, each artwork investigates specific visual ideas while testing the creative limits of mobile image-making tools. The collection emerged during 2014-2015, a period when mobile technology's rapid evolution opened new possibilities for digital expression.

Medium: Digital

Spatial Interventions (2014)

The project documents geometric forms that first emerged as internal obsessions - drawn, studied, inhabited - before being expelled into external space.

These wireframe structures, initially conceived as mental architectures, were projected onto physical landscapes using mobile technology. The work tracks this migration from psychological space to environmental intervention, where digital geometries colonize and transform familiar territories.

Each piece marks a point in this trajectory from internalization to projection, disrupting boundaries between mental construct and physical reality.

Medium: Digital

Mobile Street Photography (2015-2019)

Selected frames documenting Dublin's urban landscape. These images emerge from creative flow states during random city walks, where intuition meets split-second decision-making. The practice involves extracting visual language from the intersection of static urban composition, moving subjects, and ephemeral light conditions- micro-seconds when random public scenes crystallize into cinematic frames.

Each photograph represents peak attention moments where controllable elements (framing, positioning, timing) merge with uncontrollable ones (weather, light, subject behavior) to reveal the magic within everyday urban choreography. The series, realized through various smartphone generations, also demonstrates how technological progress has influenced visual possibilities.

Medium: Photography

#12x2 (2014)

At a time when mobile photography rarely entered Polish institutions, #12x2 examined what happens to an image born in the social feed when it enters the white cube. The title pairs the hashtag—native to network culture—with the form of twelve diptychs (12×2). Each diptych comprises two 10×10 cm prints from photographs made on an early smartphone (HTC Desire) and processed exclusively in Instagram as it existed at the time (no VSCO/Snapseed).

Sequenced to build rhythm, the pairs form a visual dialogue, and together they compose a narrative of everyday observations. Small scale, limited resolution, and compression artefacts become deliberate elements of the vocabulary. The project examines how the medium and its instantaneous circulation affect the image's status, authorship, and the private/public relation once it is moved from the network into the exhibition space. #12x2 is among the early solo presentations of mobile photography in Polish galleries, signaling a shift of emphasis from tool to discourse.

Medium: Photography prints

Some Kind of Mood (2011)

Photo-series emerged from a single October morning in Poland when atmospheric fog created an unexpectedly poetic landscape. The series captures a specific moment when familiar environments transformed into something liminal and magical.

Working quickly to document this ephemeral atmospheric condition, the images explore the boundary between the recognizable and the mysterious.

Medium: Photography

Winter (2013)

Photo-series documents a single walk through snow-covered landscape, capturing the graphic transformation that occurs when familiar environments become unified under a white blanket. The series explores how weather conditions can fundamentally alter visual perception and photographic possibilities.

Shot in sequence during one winter outing, the images investigate rhythm and visual narrative through the repetitive patterns created by snow coverage.

Medium: Photography

Marcin Jachim (b. 1979) is a Polish visual artist based in Dublin, currently in his second year of BA Fine Art Painting at NCAD. Graduate of Phototechnician studies, Katowice (2010). Co-founder of Fotografia Komórkowa (2011)- Facebook community of thousands sharing smartphone photography, embodying democratization of image-making. His 2014 solo exhibition #12x2 at Galeria Pusta C.D. was among the first institutional presentations of mobile photography in Poland.

Since relocating to Ireland (2015), utilized social media as primary exhibition platform. Love Letters (2017–2025)- eight-year investigation into alternative forms of communication through art, spanning painting, photography, and digital media. Member Visual Artists Ireland (2025).

The artistic practice focuses on exploring inner dialogue, dreamlike states, and interpersonal relationships, often addressing social themes. Central to the work are reflections on mechanisms of self-perception and perception of others, as well as how dreams, personal experiences, and social tensions influence the creative process.

Medium -both traditional and digital -serves as a tool for exploration, revealing tensions between intention and matter. The choice of means of expression, their limitations and possibilities, becomes an integral part of the process, yet never dominates the idea -instead serving to develop and deepen interpretation.