In an newspaper interview, Lubomir Tomaszewski as the founder of the Emotionalists explained: “In (…) the 20th century, there was general chaos in art. (…) When the idea of ‘art for art’ came about (…) the most important goal was lost. (…) art [became stripped of] what was the strongest and the best side of human activity – moods, feelings, and emotions. Works of art turned into banal jokes. (…) [ Most art] lost its own visual or plastic language and it began to require an outside philosophical-literary interpreter.”
The clear and straightforward message that Tomaszewski and the Emotionalists communicate is “Less show, more content”. The real worth has become highly valued again: the real worth meaning works of art created by people for people, works bringing tears to your eyes, making you laugh or stirring up your inner anxiety, works that remind you that the most important is the human being and his or her context, namely nature. Or maybe sometimes the human being constitutes the context for nature? Because very often nature and the forms created by nature are the most important points for the Emotionalists and for Lubomir Tomaszewski himself. Works of nature have contributed to the creation of many works of art. Nature acts first, later acts the human being. This is why we can find so many inspiring and extraordinary landscapes, pieces of wood, bark and tree roots in sculptures and paintings. To his or her surprise, the viewer often discovers how an inconspicuous fragment of a root found by the artist becomes meaningful in a sculpture, how important it becomes, how much emotion and energy it conveys, how much movement and space it imparts to the work of art.
The Emotionalists have exhibited their works in numerous places in the United States, France, Germany and Poland, including New York, Cambridge, Harvard, Nuremberg, Warsaw, Sandomierz, to name but a few.