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Malwina Puszcz
Artist Spotlight

Energetic – Geometric - Abstraction  

Malwina Puszcz never planned on being an artist and did not dream of making a living with painting. However, everything changed when she met her husband – a painter and art historian - a few years ago. He introduced her to the arts and today she is a successful artist with a distinctive personal style.

The Polish painter is not interested in high flown and complex interpretations of her work. She rather wants to share her sensitivity than a message that can be expressed in words. To do so, she employs an extraordinary purity of form and timbre whose interplay seems to draw the viewer in and make the eye wander endlessly in in a world of energetic shapes and vibrant colour variations.

We interviewed the artist to learn more about her work and her vision.

INTERVIEW WITH THE ARTIST

Q. Did you always want to be an artist?

A. Honestly, I have never planned on or dreamed about it. I was into different things, which were not connected to art. Everything changed a few years ago after I met my husband who is an art historian as well as a painter. At first, I was watching him painting, but then I started to sketch and paint myself, as an amateur. We visited plenty of art galleries, museums and he was my guide there. He taught me about art, about different painting styles, etc. Inspired by that, I started to dig into albums and books to become more familiar with the masters and their work. After some time, I decided to show my work to the public. The feedback was very positive, which motivated me to develop myself further as a painter.

Q. Has the legacy of abstract painting inspired or influenced your work?

A. Going through these masterpieces from different periods, abstraction seemed the most interesting and inspiring to me. Especially, the geometrical form with its impersonality and the importance of colour stole my heart.

Q. Could you describe your process?

A. To be honest, I mostly follow my intuition. The final composition is the outcome of a trial and error method. Every sketch begins with a few big geometric figures. Then, I link them with long lines, which results in a dividing and a multiplying of the shapes. My earlier paintings consisted of different shapes, whereas now there are only triangles with different angles and side lengths. When the initial grid is ready, I mark the dark and bright spots. Finally, I look at the drawing and decide whether anything will come of it. If it is ok for me, I begin to think about the colour scheme.


Q. Could you tell us a bit about the development of your colour palette?

A. I always start out with a sketch and a general idea of the colour chart. Next, I mix from 4 up to 8 colours in special containers to find the right timbre. After that, I pour the finished timbre into the next container and add 2 or 3 colours more. I continue this procedure until I get as many timbres as needed to finish a particular painting. Sometimes, a few colours are left unused, but I keep them tightly closed for the next painting.

I am not interested in high flown and complex interpretations.

Q. What would you like your work to evoke in the viewer?

A. The thing that I like the most in abstraction is that it does not present anything and looking at it can be compared to meditation. Today, we are overstimulated by a constant flow of information and admiring an abstract painting allows me to  switch off, it helps me relax, to clear my mind. It gives me pure joy and peace. I would like people to feel the same when they look at my paintings. I am not interested in complex and high flown interpretations. The truth is, that I would like to show something rather than to make a statement. Even though I am rather shy and reserved, my works are considered as dynamic and vivid.

Q. What other creatives inspire you?

A. For me, painting is like an escape from everything around, it gives me peace and relief. I am not looking for inspirations by other authors or pop culture. Rather it comes from the nature - the sunset light or the diversity of a wildlife. I do not look at other authors' paintings very often to avoid subconscious inspiration. I really want my works to be created intuitively and be "mine" as much as possible.

Q. Could you describe your work in three words?

A. Energetic – Geometric - Abstraction