Agata was born in 1983 in Poland. She graduated from High School of Fine Arts (Czestochowa, Poland) with the specialization in Graphic Design. She graduated from the Academy of the Fine Arts in Wroclaw this year with the Master degree in Painting.
She has participated in several art events in Europe and North America. Her paintings can be found in many private collections in Belgium, Great Britain, Poland, Austria and United states.
Agata’s works do not have any philosophical or theoretical background. She purposefully tries to eliminate everything which is only an attachment to the painting and its quintessence, and to achieve pure sense of each work. Too many distractions kill the painting, she says.
Agata’s style can be described as a mixture of a new figurative representation and geometric movements of the 20th century, when color was the most important. But for years Agata’s main theme has remained the same – the human body. The way she paints the body is becoming clearer and clearer and she is more conscious of it with each work. The new series of her oil paintings are inspired by the human figures in pure biological sense.
She gets inspiration from mass media, especially from pictures and texts.
Franz Kline, Francis Bacon, Teresa Pagowska, Robert Rauschenberg and Emilio Vedova have greatly influenced her, too.
Chuck Close once said:
“ The best time for the painting is when everyone around announces it’s end.”
For her, it is really true quintessence.
Translated by Anna Laver
“I would like my pictures to look as if a human being had passed between them, like a snail, leaving a trail of the human presence and memory trace of past events, as the snail leaves its slime.” Francis Bacon
The “Skin on Skin” series is a record of emotions and observations … often subconscious, not always deliberate, or at least not thought over – rather felt and very intuitive. It revolves around human beings, their functioning in the personal and social sphere (the relation between ME – YOU or ME – THEM). ”Skin on Skin” is about people depending on each other, about mutual relations, influences, pressures and manipulations. It’s a turn toward the inside – from a noisy and chaotic street to the intimate sphere. The fascination with structure, the pulse of a living metropolis, and life in anonymity and isolation that accompanies it, are the two poles between which we are suspended. As a result, the surrounding reality is no longer realistic and does not fit the template to which we got used to … it comes crashing down and leaves us puzzled.
translated by Patricia Frankowska