The encounter between the ordinary and the rare, between the packaging of cornflakes and an old piece of paper takes on a role and gives rise to a new language. A language that turns the assembly into the content itself, the meeting point between the images and themselves.
 
The recurring motifs in his works enhance the universal connection of all the works present together and strengthen the connection between them. The motif of the plane rising and returning in the works evokes the feeling of the constant threat of leaving, abandoning, and escaping from everything. The plane appears in various situations; Takes off, lands, foggy, falls, and bleeds but also appears as a channel of refuge. Silver figures and dolls also take on additional meanings and evoke a sense of cargo related to the military and German / Nazi aesthetics that the athletic body receives, the waving of the Hitler's hand again meets garlic with local symbols, detached from the context and tied with birth cords. The act of ‘disconnecting’ and reconnecting produces the additional evidence floating and rising all the time and in all his works.

In all the works the action of the collector is present. Tolkowski presents his collectible details, apart from the compositions, the colors, and the action of the painting, the obsession with collecting finds a living display place, a kind of home, through the works.

Like an assemblage within an assemblage, Tolkowski connects his being a collector into being an artist and his collectibles as marginal documentary exhibits.

There is no doubt that Jerusalem, an Arab-Israeli place is present in his works. The encounter between the historic place of Palestine and Israel; A camel that turns into a cow, clippings from an ancient newspaper, reporters in Arabic, a Star of David, city signs, associate the artist and viewer with a specific place belonging to the story in which Tolkowski lives and works.