Creative profile

My work consists of setting within a stage of light a coloured space capable of welcoming a figurative form that will give its significance.

I need to construct a space to be inhabited by the body just as I need to construct for my own self.

I also search, in working with colour, light within the figurative form to seize and share emotions in the body of the painting.

My own emotions remain without name and without form in my paintings, unless I give them life and feed from them, then it is they who direct me in my work.

The essence of my work is movement and dynamics.

The rapid motion of my hand as I paint is the mention that breaks the glass. It disturbs the coloured backdrop and breaks the unity of the material.

The body I paint is a cardiogram of my own interior. The nervous brush stroke is similar to the movement of a needle on graph paper. It is a ghost, an echo of my memeories.

Life stops in time; an overexposed photograph, which maintains the outline of the body in action, a shadow, a memory. Maybe the painted models, once in Poland, return in another form. I interiorise my painting. It is the freedom of gesture, of space, of colour.

I have the impression that I reduce the movement of the body even carrying out for the essential. I open it, undress it…, nothing is clearer, the envelope is gone. My skeletal forms recall death - the end. The broken glass too! Nonetheless, a life begins. The broken glass becomes the element of construction. The luminous body that I place in space is like a light that enters and there is life. It is like the end and the beginning. We question life, just as we question death.

I place importance on transparency and light. There is transparency and reflection in the glass. The human figure is constructed in the light according to the chosen colours. Large areas of thin paint allow one to see through it. Our look lingers in the body. We see through the cube that remains open as we look through the volumes I create.

The human figure has no face. I leave it to the imagination, with or without definition. It is a hardly noticeable sketch of the chin turned toward the back that directs our eye upward, toward another world, toward another place. In the areas of stillness we feel the air and everything floats. In al of my canvases there is an appeal to the light that makes a painting a window that looks onto another place.

I am conscience of the contradictions that may appear in the cohabitation of opposing elements. Verticla divisions act as the outline of a discrete architecture. It stabilizes the freedom of gesture and adds depth to space. The mathematical structure of a cube places the painted figure in a space that is familiar to the spectator and, as an element of stability, permits all audacity, its presence is reassuring. The large still areas contrast with those of motion and gesture; the opaqueness with transparency; and the justaposition of dark tones with the light (the body).

The luminous and colourful background that I prepare from the outset allows me to dive into my painting. It beckons a gesticulation through which I think the essence of this spontaneity can be conveyed, like a written language. The colours I use are chosen for their transparent quality and are often bright. I juxtapose them so that they converse with one another and draw out paler tones.

Dorota