Antoni Starczewski is one of the most interesting artists of the post-war period, an artist who developed compelling and unique artistic practices in a variety of media, namely ceramics, prints, textiles, and in-situ projects. Regardless of the medium, Starczewski explored the issues of rhythm, difference in repetition, and sign systems. He established his own structure of forms and translated them it into rhythm-based artworks. Antoni Starczewski’s works have been part of many exhibitions and collections both in Poland and abroad, such as Biennale di Venezia; Tate Modern, Victoria and Albert Museum, London, UK;  Kupferstichkabinett, Dresden, Germany; Museum of Art, Łódź; Zachęta National Gallery of Art, Warsaw; Poland; Stedelijk Museum, Amsterdam, Netherlands; National Museums in Warsaw, Kraków and Wrocław; Museo Internazionale delle Ceramiche, Faenza, Italy; Galleria degli Uffizi, Florence, Italy;  Musée d'Art Moderne de la Ville de Paris, Bibliothèque nationale de France; Musée d'Art et d'Histoire de Genève, Switzerland; Museum Boijmans van Beuingen, Rotterdam, and many others. 

Antoni Starczewski explored the fields of visual art, music, and language. One of the main directives of Starczewski’s work was a refusal to separate fine arts from decorative arts. His exploration of rhythms and development of sign systems led him to create so-called “visual scores,” regardless of the materials and techniques in which he worked. The work Tkanina- Cebule is an exceptional example of his artistic language, since it embraces both Starczewski’s conceptual and formal approaches in creating pictorial weavings. This work is a remarkable example of artist’s tactic of addressing the visual arts hierarchy by putting textiles and crafts in the fine art category. Remarkably, Starczewski’s patterns do not only question this relationship, but they also reflect the universal patterns that permeate nature and the environment.