Ziemski started his artistic activity in the mid as 1950’s as a member and co-founder of the Lublin artistic group Zamek. He is considered as the first Polish artist to deploy Op-art and kinetic art in his works and is a key representative of structural painting.  Ziemski’s artwork explores the interdependence between science, technology, and art. The vision of artists like Ziemski changed the perspective on art in Poland and made direct reference to the achievements of the pre-war avantgarde. Jan Ziemski’s works have been part of many exhibitions and collections in Poland and abroad, such as the National Museums in Warsaw, Krakow, and Kielce, Poland; Muzeum Sztuki, Łódź, Poland; Wroclaw Contemporary Museum, Poland; BWA, Lublin, Poland; Galerie Le Ranelagh, Paris, France;  Neue Nationalgalerie, Berlin, Germany; Zachęta National Gallery of Art, Warsaw, Poland, and many others.

Ziemski’s exquisite artworks create their illusions by using black and white or colour and three-dimensional overlays that are optically separated and animated by contrasts. Even though the work Relief mimics the form of classical painting, Ziemski’s use of materials, colours and overlays defines this particular artwork more as an object rather than as a painting. The most thought-provoking element of his oeuvre is that some of his works use the shapes inherent to the eye, directly illustrating their engagement with the sense of sight. Ziemski’s classical and already canonical series of works in colour give the viewer the impression of movement, hidden images, and various  patterns that arise in the processes between the eye of the observer and the static object.