In 2016, I had been working as a painting instructor for a year, the group you signed up for had been just formed. So we both were learning our roles. Anyway, it seems to me that a good educator should always learn - people have different temperaments, each of them has different expectations and goals. Some people want to learn the technique, others - just have a good time and relax during creative work. I wanted to create a nice atmosphere in the group. Up to now, the participants of these classes are art hobbyists. Nevertheless, apart from the basics of painting and drawing, I try to present the contemporary art scene. It seems to me that the most important thing in these classes is that people start to be interested in art, without unnecessary prejudices, and that they become curious about it.

I was lucky to be in the great studio of Prof. Leszek Misiak, which was filled with nice atmosphere and ease, that are necessary for painting. Besides, there were great people in this studio, each of us worked a lot - we were encouraging each other. It was a great start to learn to work in the studio - find your rhythm.

When I was applying for my doctorate studies, I introduced “a sketch” of my topic, which I have later explored during my studies. I devoted this time to study the theme of corporality, which turned out to be an extremely broad and multifaceted topic. In this work, I tried to explore the issues of corporality, based on the analysis of works of art and artistic attitudes.

The topic of my work is “Anatomy of Existence - Metaphor of the Body” and, as I’ve mentioned before, it concerns the issue of corporality. One could say that my work is a kaleidoscope of thoughts, which reveals the direction of my artistic search.

Painting is my main medium, but I appreciate “creative flexibility” and experimenting. The canvas is like a frame from a movie, a trailer of a further story. The themes of these stories are often repeated in other configurations. I create ceramic tongues, which later obsessively haunt my paintings in various variations. There were also moments of my disappointment with painting, then I tried to explore other areas, using movie, photography and sculpture, doing it intuitively, sometimes having little idea about the possibilities of a given medium. In this case, nothing can be planned, only repetitions and self-education are possible. This was the case with movie, when I used paper cutouts as actors, later the same cutouts served as sketches for my paintings. Often, experiments in a different medium are the beginning of paintings.

It is difficult to explain why I feel connected with one artist and not with another - it seems very intuitive to me. I decided to enter into a dialogue with Erna Rosenstein. Despite the time and experiences that separate us, I would find a common denominator and “thread of understanding”. That is why I’ve used her poems in which I found my own feelings and moods. It was my first such unambiguous inspiration to which I referred creatively.

I am inspired by people and art.

Yes, of course - exhibitions are a great experience. First of all, working on the concept of the exhibition, conversations with curators, as well as working on the specific space of the exhibition. While I am working on exhibitions, I try to create also directly in the exhibition space. This is how the paintings on the gallery walls were created - they had been ephemeral activities because they were painted over after the exhibition ended - but this was also their intention, to be a link between a specific space and the concept of the exhibition, just this one time.

I paint based on previous sketches, although they are never a determinant of the painting. There is no specific way to guide the painting, I try to be alert and focused. I am guided by the feeling of what will be created, and my intuition allows me to accept what is happening on the canvas. I often repaint fragments of my paintings, I change the colours, I paint other elements of the painting puzzle. I work on a painting for a long time, verifying its upcoming stages. The question “how” is very important to me and I do not mean painting, aesthetic issues, but working on the subject. Sometimes, when the picture irritates me, I leave it and go to the next one, after a while I come back and it happens that within a few hours I will “save” the painting. Naturally, “failed operations” happen too and sometimes what turns out to be an effective antidote to creative sorrows is working on a new painting.

That they should not be afraid to experiment creatively and be interested in art.

Livid-blue-turquoise-purple.

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