I am an abstract painter. I choose simple, natural, and raw materials—powdered pigment, walnut oil, canvas, oil pastels, wooden stretchers —because I want to stay connected to the world those materials come from. That connection grounds my process in something real and tactile.
My painting process is organic and layered. I build the canvas from the background, from an atmosphere of color, maneuvering through emerging forms. I refine color and space by drawing fine lines of paint across the surface, as if writing. These lines hold the human breath and the variation of touch. I often think about the ground I stand on—the land, the soil—as a surface that holds history. I’m drawn to ideas of archaeology and artifacts, to the invisible layers beneath us that shape the present. Those buried layers are what I paint from—they form the surface I build on.
My background informs this exploration. Growing up in Poland, I learned cursive through calligraphy with pen and ink, and as a teenager I learned tapestry weaving from my mother. As a new immigrant in New York, I wove large-scale tapestries for another artist. These experiences remain present in my process. The vertical warp and horizontal weft of weaving taught me to see structure as both memory and matter—layers building like strata of the earth, storing and transforming what came before.
