It is unusual how Tomasz Morek presents human-beings and animals. This is the main conclusion of Barbara PiĆ³rkowska's article about Morek in a popular Polish newspaper "Gazeta Wyborcza": He paints us perversely: people have devil's tails, curly as piggy ones that resemble "nosy" question marks. Above - an aureole like a small cloud, slowly encircling over human's thoughts. (...) Pastel colouring, fuzzy details, transparency, mild line - we stand in front of a painting which tells us that this world is strange. (...) Even an animal is equivocal. A horse aspire after a pegasus, a dog - we are not very sure whether it has a face or a snout, and it also has a piggy tail. A bird - we don't know whether it is a gull or just a shadow or maybe a neckerchief blowing in the wind. (...) All of it reminds us that there is a continuing dialog between a painting and its audience. But in Morek's paintings a sort of "conversation" exists already on the very canvas: we can see that the heroes of a drama are interested in each other indeed"("Gazeta Wyborcza" - "Gazeta Morska" nr 258, z dnia 05.11.2002).
Tomasz Morek is also dealing with interior design and arrangement. He realized his projects in many buildings of sacral architecture (for example churches in Warsaw, Pila and Gdynia) as well as decorated objects of secular architecture (Zamojski Hotel in Zamosc, City-Hall in Wejherowo and many more).
The painter uses wide range of artistic techniques, in particular traditional painting, wall painting (frescos, sgrafitto), mosaic, ceramics and stained glass.