Wojciech Krauze once wrote in "Zycie Warszawy", that "Stasys entered the Polish poster through another door". It is true. When I arrived in Warsaw, the Polish poster was on a par with the Japanese one, and it enjoyed renown in many countries of the world. l observed poster boards in the streets of Warsaw. At that time they were dominated by Jerzy Czerniawski. He surprised the street viewer with courage (eg. with a naked butt covering the whole poster area) and with the power of his works. l lived in the city centre and Jerzy helped me in 'travelling' from one publisher to another. He also helped me with a word of que and I appreciated that very much. His words were like blows - usually blows of truth.
The first one was a poster published on my initiative for an exhibition at Galeria Zapiecek. I exhibited the original. The art critic Wieslawa Wierzchowska was overwhelmed by it. That first design was later printed for my show in Torun. In 1984 the same poster won a prize at the Poster Biennial in Warsaw. Then I was visited by the tragically deceased Janusz Gunia. He brought me my first offer. Again, I was said to introduce painting to poster. Was it bad or good? l do not know. But it was natural for me not to submit myself to any canons. I was doing what l though was right. The greatest distinction for me was the moment when Ikko Tanaka staged on exhibition of my works at the prestigious Ginza Graphic Gallery in Tokyo in 1989. The show was visited by Yusaku Kamekura, a great Japanese authority in graphic design, and right away he decided to present my works at the newly published art magazine "Creation". I value that distinction more than a medal. It is the more so, that "Creation" was like Kamekuras's last will and expression of his way of thinking about the contemporary art - he was the one who did most of the selection. When the 20th edition of "Creation" was published Kamekura closed down the magazine.