So Ulardzic is close to classical Mediala members by his metaphysical object observation, by his need to express that internal feeling of “conscious subconsciousness” which represents the main obsession of the real painting fantasy. His inventivness in enumerating details seems inexhaustible. In that multitude of articulate details of human faces and limbs and fragents of recognisable objects, Ulardzic reaches the very spring of the paranoid imagination that Daili speaks of. Ulardzic is similar to other Mediala members for he, as some of them, did not attend the Academy of FIne Arts, but he himself has built and improved his paining skill. If he had suprassed his models, the reason for that would not only be his natural painting talent but also his work devoted to painting in years of complete loneliness spent surrounded by one in a cultural sense “small milieu”.
But Ulardzic differs in many ways from the classics of our painting fantasy. Primarily by the absence of reminiscences of the works of Renaissance and Baroque painting or on classics of modern art. Ulardzic has his own, in himself made and with himself closed painting world. This is one of those “finished” worlds without the possibilities of change which are restorable exclusively in constant reveal of yet unknown corners of its internal spaces.