This is a blog about my creations and my passions. They include my love for printmaking and interest in making original and exciting bits and pieces. They reflect on my Polish heritage, but also show glimpses of my Tasmanian life.
This was an exhibition I recently had in Colville Gallery, Salamanca. I was extremely excited about it because it has been my biggest show so far! The work was a reflection of my travels throughout Europe and my thoughts and emotions.
There is impracticality about
the word identity.
With the emphasis on ‘i’, a
sense of loneliness is pronounced in its four-syllable dictation. Although it
discusses the notion of what defines our characteristics, values and beliefs,
does it in fact give us the authority to belong in a certain time or place?
Does it give one the authority to live in a reality, or perhaps in fiction?
by my recent travels to Europe, Portuguese poet Fernando Pessoa explores the
earnest veracity of living in Lisbon. In his eccentric world of pros, I have
become fascinated by how absence and loneliness provokes mark- making, with the
obsession to locate a sense of belonging.
The superiority of the dreamer is that dreaming is
much more practical than living, and that the dreamer extracts from life a much
vaster and varied pleasure than the action man. In better and more direct
words, the dreamer is the real action man
Through desperation to find both
identity and reclaiming my Polish roots, this exhibition recollects memories in
an allegorical sense to provide the viewer with a glimpse of the isolation I
experienced on my trip and particularly art residency in July-October 2013. It
discusses the idea of locating identity through imagination, or an imagined
history. Searching for these answers in the streets of Portugal, France, Spain
and Greece, I found myself yearning for my homeland.
first-generation child of Polish migrants, born in Tasmania, I am fascinated
with the disconnection and connection to past histories. Illustrating historical
narratives the sentiment and yearning behind the architectural landscape
becomes a testimony to the ephemerality of tradition and lost lands. An
Egyptian historian, Jan Assman, concluded in his essay Collective
Memory and Cultural Identity,
The supply of knowledge in the cultural memory
is characterized by a sharp distinction made between those who belong and those
This exhibition of self-portraits
of my partner and I, epitomize something of a dream, perhaps the romance of
estrangement and distance. As monochromatic, multi-layered etchings they aim to
evoke emotion of the modern day migrant, after all, aren’t we all just
desperately trying to belong?
the art residency on Skopelos Island in Greece (September 2013) left me with an
overwhelming sensation of preserved culture. It gave me the opportunity to
examine tradition in its raw form; where the importance of ceremony, customs
and ritual has in a way been lost in our modern culture. Their foundations
built on religion and piety as a way of finding identity became apparent to me,
particularly in my research on Russian artist, Marc Chagall, who enlightened me
with his connection between love and faith. He questioned;
Will God or someone else give me the strength to breathe the breath of
prayer and mourning into my paintings, the breath of prayer for redemption and
It was Chagall’s dedication to
his Jewish faith, that through the words of God and through love, his paintings
clearly expressed the decisive marriage between love, emotion and spirit. From seeing
Chagall’s work in three different locations in Europe, my work has focused
heavily on romanticism, with the intention to find meaning from the heart. The
‘Concept of Polishness’ has but been put aside, as to claim sovereignty over my
own identity through sense of place.
Here are a few images from my exhibition 'Running with Scissors' (February 2014) which was a collaborative show in Ros Meeker and Katina Gavalas. It was a really wonderful experience to exhibit with such wonderful printmakers and to organise and curate together. The work was more of a 'retrospect' where the works were varying from old to new, some with collaged bits, hand-colour and even taking the work into the three dimensional realm.