It shouldn't be forgotten that Kuzyszyn is most of all an artist who uses photography as his medium. The large Marcowe Gody / March Mating exhibition which took place in Łódź in 1995 was proof of that. His project, which consisted of multiplied photographs, was one of the most interesting works presented there. Since then, the artist has often shown spatial arrangements (installations) using photography and bright neon lamps. He also created objects out of paraffin, in which he immersed shocking pictures of his multiplied body turned into indeterminate images (insects? worms?). When one looks at Kuzyszyn's creative growth, one can notice that he is interested in scandalous media problems (at a certain point he was inspired by David Lynch's films). The only oasis of creative freedom was for him art based on the penetration of his own existence and of darkest nooks and crannies of the soul.
In the mid-nineties Kuzyszyn's interests changed completely. He resigned from chaotic philosophical pursuits and turned to decalogue and love. Instead of anti-aestheticism, in 1994-5, he chose aesthetic realisations of mandalas, created from arrangements based on his own body, proving in some way, that scandal was only an episode in his art. In 1995 he took part in one of the most talked about and controversial presentations of the 1990s – Antyciała / Antibodies (CSW Warsaw). His works spoke of the physical, and, implicitly, psychological and religious condition of modern man. In the late 1990s he turned towards a spiritual search (Światło / Light exhibition, Arsenał Gallery, Białystok) using geometrical forms, originating from minimal art and constructivism. He dreams of searching for 'new beauty' (which was a title of his installation created in 2000), distancing himself from Polish postmodernism. In the late 1990s and in the beginning of the present century he's shown works exposing carnality, connecting them to interactive text, presented on liquid crystal screens, also using magnifying glasses and cable coils.