"I like working on sponge because it's a simple, light material and always ready to use. The colour and texture meet my aesthetic requirements and it has a lolof volume and physically, is very present in the space. The ink or paint is immediately absorbed into the foam surface, making any corrections almost impossible. It is a material which lends itself to quick, fast application and is particularly good for spontaneous sketching with paint squeezed directly from the tube. The fact that these works will not last does not deter me; it suits the character of the work very well and to an extent reflects my ideas about art."

“I really like painting on unusual base, such as zinc plates, which are already subjected to rain. These are old plates, spoiled by time and weather. I paint very subtle paintings on such a ground. On the other hand, paintings on a sponge, which may seem harsh in terms of subject matter – are, contrary to appearances, very soft and pleasant. It is nice, for example, to move them and hang them.”

“I love what I've learned from my parents, and what I continue here – wandering, Sunday trips out of town, mindfulness with which you can look at plants and animals. I am not interested in that professionally and I have no ambition to classify flora and fauna, but I am enthusiastic about amateur love for nature. Light, air, clouds, landscapes only seem harsh. A lot of beauty can be found in this rawness.”

“In Poland, many doctors would not undertake euthanasia due to religious beliefs. The Dutch are more pragmatic, and death is not a great taboo for them, but part of the natural turn of things.”

“What fascinates me is the fear of terrorism in Poland while people die everyday on the roads – and on an annual scale there are thousands of people who lose their lives in a very stupid way.”

“He deliberately rejects the classic beauty of the form for the sake of fragility, transience or simply greater sensitivity to what is present. His work has a mockery and ironic character. He looks critically and with great apprehension at Poland, he does it from the perspective of an emigrant, from culturally and socially different Netherlands, which became a new homeland for him.”

“Tomasz Vetulani's work balances between two fascinating axes, producing an image of an artist juggling various means of expression. From intriguing and expressive objects, made by him from, say, hot white glue or black silicon, with strong social and political connotations - to subtle images-objects, evoking fleeting states, where the sensitive eye of the artist touches the sublimation of certain senses.”