The Art of Embodied Emotions


My life story carries the features of dualism, and so does my art. I am a dual, Polish – British, national, and feel at home in both countries. I have two children, two dogs, two professions (with art heavily dominating my work life in recent years) and two sides to me: a very imaginative one and a very practical one. This omni-present dualism makes my life interesting and intrinsically affects my art and my creative process. I dare to escape the singular, the still, and the definite, finding my balance and my identity in ambiguous, expanding, and in constant motion.


I move between abstract and figurative. I use abstract freely, expressing my emotions using bold, fluorescent colour and quick movement. However, as I paint, I notice the strong urge to offer my emotions a face. Sometimes it is a well-known face of my favourite musician; sometimes my emotions fit into a face of an animal, and sometimes into the shape of an apple. The process of embodying my emotions brings on the long awaited moment of clarity in a constantly moving environment, paradoxically adding to the changing dynamics of a picture. I paint my emotions as they are, rather than as I would like them to be. And they tend to be bold, strong, and messy, yet possible to identify. The painted figure is both separate and unified with the surroundings, the same way I am separate yet unified with my emotions. They do not belong to me – I am part of them.


I feel intimidated by a blank canvas. I usually start by creating a digital sketch of patterns and shapes and print it onto the canvas. The sketch may include a manipulated photo or a figure drawing using digital tools. Having such prepared base, I use a variety of mediums, ranging from watercolour, acrylic, marker, pastel and pencil to paint over the image with palette knives and brushes, creating a unique and original artwork. Large formats speak to me better than small ones, allowing me to express my constantly evolving energy of emotional expansion.


As a philosopher and psychologist, I am most interested in topics surrounding life energy, its applications, and its limits. In this sense, I see my art as an extension of my previous academic research. The paint and the brush enrich my written pieces with a different, most exciting, dimension.