I grew up in a world where the forest shimmered in endless variations of green and yellow and hues I still can’t name, the soil seemed to turn from black to brown to something like blue as it dribbled from my hand and where the sky bled purple at dusk. In Poland, though, behind the Iron Curtain, art meant black and white reproductions, washed out grays and “social realism,” art that didn’t seem to be much of either. Drenched in it in life, deprived of it in art, I have become consumed by color in my work. I want the colors I use to breathe and pulse, to transform spaces between them, to illuminate light and darkness behind them.
The White Series 2019 can be seen as merging my of emotional memory of my homeland, Poland, while fostering the painting process to assume a life of its own. The final expression therefore creates a more universal, a more objective expression of our yearning for meaning and our desire to connect.
My journeys are the foundation of the White Series 2019. These paintings are an odyssey that starts in darkness, weaves its way through shadows and arrives at White. Darkness is primary, layering colors until they are saturated, heavy and opulent. Oftentimes it is hard to take that darkness away; here’s where one can rest, where it’s peaceful and full of possibility. Transitioning from darkness to shadows and then unfolding to White becomes an alchemical process, much like being a parent. One gives birth to an essence that has the opportunity to grow and become fully realized. Both painter and parent guide that essence, assisting, then letting go to allow a unique creation to exist as a singular entity.
When I arrive at White, it’s always tinted, shaded and molded by what came before it. Pure White does not exist in reality, just like pure light cannot be perceived by the naked eye. It needs some interaction, an interference to become visible and relatable. I imagine pure White would be blinding like a “milky fog on the ocean” without a point of reference, without direction, it’s indifference calmly veils memories and the past. White holds for me a sense of uncertainty for the future, and although it vacillates and won’t be pinned down, it leaves a trace of an intriguing mystery. Within White’s achromatic vibration, an observer layers a new vision and personal perceptions.
My paintings are non-objective in nature but invite the viewer to pause, listen and observe. Interlaced in my work are human emotions, memory and multi layered experiences, all of which become alive in the eye and the mind of the observer. In a world where stillness is rare, my paintings rely on the moments of contemplation where one takes time to make time.