Roman Opałka (27 August 1931 – 6 August 2011) was a French-born Polish painter, whose works are mostly associated with conceptual art. Opałka was born on 27 August 1931 in Abbeville-Saint-Lucien, France, to Polish parents. The family returned to Poland in 1946 and Opałka studied lithography at a graphics school before enrolling in the School of Art and Design in Łódź. He later earned a degree from the Academy of Fine Arts in Warsaw. He moved back to France in 1977. Opałka lived in Teille, near Le Mans, and Venice. He died at age 79 after falling ill while on holiday in Italy. He was admitted to a hospital near Rome and died there a few days later, on 6 August 2011. Work In 1965, in his studio in Warsaw, Opałka began painting numbers from one to infinity. Starting in the top left-hand corner of the canvas and finishing in the bottom right-hand corner, the tiny numbers were painted in horizontal rows. Each new canvas, which the artist called a "detail", took up counting where the last left off. Each "detail" has the same size the dimension of his studio door in Warsaw. All details have the same title, the project had no definable end, and the artist pledged his life to its ongoing execution: "All my work is a single thing, the description from number one to infinity. A single thing, a single life", "the problem is that we are, and are about not to be". He had contemplated and tried many different ways to visualize time before settling on this life's work. Over the years there were changes to the process. In Opałka's first details he painted white numbers onto a black background. In 1968 he changed to a grey background "because it's not a symbolic colour, nor an emotional one", and in 1972 he decided that he would gradually lighten this grey background by adding 1% more white to the ground with each passing detail. He expected to be painting virtually in white on white by the time he reached (he did not use commas or number breaks in the works): "My objective is to get up to the white on white and still be alive." As of July 2004, he had reached 5.5 million. Adopting this rigorously serialized approach, Opałka aligned himself with other artists of the time who explored making art through systems and mathematics,