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  Emotional Synchrony as Distributed Material Logic Introduction The PES (Parallel Emotional Systems) framework evolves from a simple artistic intuition into a structural model where painting, perception, and emotion operate as interconnected fields rather than isolated phenomena. Recent developments in psychology and computational affect theory describe emotional synchrony as a distributed system emerging between individuals rather than inside them. Within PES , this idea is extended beyond social interaction into material perception PES – Parallel Emergence : Threshold State / fragment Emotional Synchrony Beyond the Social Field In contemporary research, emotional synchrony refers to the alignment of affective states across individuals during collective experiences. However, this model can be extended: In PES , synchrony is not limited to social bodies — it becomes a perceptual condition embedded in material systems. Painting is therefore not representation, but a field where pe...

  Introduction Painting has long been interpreted through the lens of representation, composition, or aesthetic resolution. In my current research within the PES (Parallel Emotional Systems) framework, I approach painting differently - not as an image, but as a living field of material and emotional tensions. PES – Emotional Stratification : Silent Conflict...fragment Natural earth pigments , custom mediums, and chemical or physical processes are not treated as supporting elements of the image.  They become active structures - equivalent to emotional states such as memory compression, rupture, erosion, and sedimentation. Within this perspective, the canvas behaves more like a geological surface than a neutral support. It records not only gesture, but time, resistance, and transformation. In this sense, abstraction is no longer purely visual. It becomes stratified - a system of accumulated pressure and material decision-making. Each layer contributes to an internal structure t...

 In traditional painting practice, the signature is usually placed on the front surface of the artwork. It functions as authorship, confirmation, and final identification. In my practice, within PES — Parallel Emotional Systems -  this gesture has become increasingly problematic. The front surface of a painting is not a document. It is not a label. It is a perceptual field. PES Thermal Dissolution / Ignition Field   And I began to understand that placing a signature on this surface interrupts the continuity of the image. It transforms an active visual space into a closed object. The front is not a place of ownership For me, the visible surface of a painting is not a place for declaration or possession. It is a space where perception remains unstable and open. A signature on the front acts as a final punctuation mark. It closes the sentence of the image. But PES is built on the opposite principle: the image must remain unresolved. It continues to vibrate even after c...

 Ce texte définit un cadre culturel et non une biographie personnelle. Il présente un système de relations entre la pratique artistique, les institutions culturelles et la recherche perceptive développé dans le cadre de la fonction d’Expert Culturel pour Côte d’Azur. Piotr Lulkowski développe depuis plusieurs années une pratique culturelle multidimensionnelle basée sur la connexion entre l’art contemporain, les projets internationaux et les processus éducatifs et sociaux. Olivier Spinnhirny et Piotr Lulkowski lors de la Journée Nationale (événement culturel et civique), 26/04/2025 En tant qu’ Expert Culturel pour Côte d’Azur , son travail ne se limite pas à la gestion ou à la coordination de projets artistiques. Il s’agit d’une approche globale de la culture comme système vivant, où différentes formes d’expression - peinture, musique, design, performance, recherche visuelle et action institutionnelle - s’entrelacent pour créer une structure cohérente. David Grimal et Piotr Lulkows...

  PES – Parallel Emergence : Threshold State N° identification: PES-PER-TS-2026-01,  acrylic, tempera, gouache -  canvas - (2026) - 133 x 160 cm This work explores the moment when emotional structures begin to emerge simultaneously rather than sequentially. The image does not attempt to represent a fixed subject. Instead, it functions as a threshold — a transitional state where tension, fragmentation and perception coexist without resolution. Layers of color and movement interact as parallel emotional systems, creating instability between presence and dissolution. Part of the ongoing research project: PES — Parallel Emotional Systems Alain Polanski / SIR POL France, 2026 fragment of the structure 1  fragment of the structure 2 fragment of the structure 3 fragment of the structure 4

  PES – Parallel Emotional Systems est une conception artistique qui affirme que l’être humain contemporain évolue simultanément dans plusieurs systèmes émotionnels parallèles. Il n’existe plus de narration unique et cohérente de l’expérience. L’identité n’est plus linéaire - elle est stratifiée, fragmentée et dynamique. L’individu du XXIe siècle ressent en même temps : la mémoire et le présent le réel et la projection le silence et la surcharge sensorielle la présence et la distance PES n’est pas un style. Ce n’est pas une technique. Ce n’est pas un mouvement fermé. C’est une structure de perception émotionnelle. PRINCIPES PES considère que l’émotion n’est jamais homogène. Elle est un système - souvent composé d’impulsions contradictoires coexistantes. L’œuvre ne représente pas la réalité. Elle révèle les tensions entre ses différentes strates. L’artiste ne reproduit pas le monde. Il navigue entre des états de conscience parallèles. FORME Dans la pratique, PES se manifeste par : l...

In PES ( Parallel Emotional Systems ), emotion is not expression. It is structure. Each painting becomes a field where perception, memory, and material interference coexist. The surface is not protection - it is transformation. The varnish stage is not a finishing gesture. It is the moment where the image stops being fragile and starts becoming a system. It locks time. It shifts depth. It changes how light behaves on the surface of emotion. What was open becomes sealed - but not closed. It becomes readable differently. This is where PES moves from painting into architecture of perception. PROCESS SECTION (WERNIKS - very important narratively) Application of varnish - transformation phase Layer 1 – raw surface Varnish application Reflective transformation Befor final sealed state Each layer modifies not only protection, but perception. The surface begins to behave like a membrane between emotional states. Closing statement: PES does not describe emotion. It constructs environments wh...