The work focuses on the female as a structure under tension — between the weight of everyday life and the need for growth and its transcendence, developed through gravity, stretching, and the accumulation of matter.
CARYATIDS 01
What should burden begins to construct.
Along a wavering band, reminiscent of a delicate, curled hair, sacks are suspended. Filled with weight, they stretch the material. Yet instead of pulling downward, they rise, eventually reaching the ceiling and becoming its support.
Series: Caryatids, n.01
Blown-glass, marble powder and resin | 2026
300 H x 75 W x 70 D (cm)
The form is not deformed, but exceeds its own boundaries, as matter begins to operate according to its own logic — simultaneously overwhelming and stabilizing, leading to forms suspended between disintegration and persistence.
BURDEN OF NECESSITY
Weight as a structure of growth.
Overwhelmed, on the verge of resignation and wallowing in her weakness, she finds, at her very core, the strength to get out of her oppression, to overcome her crisis.
Series: Woman being, n.9
Marble powder and resin | 2023
39 H x 22 W x 25 D (cm)
Edition: 3/5 | Available
dominanceIN THE WIND OF DUTY
A woman with fantastic antlers – a trophy. The symbolism of antlers in the context of masculinity is obvious: power, strength, dominance, as well as renewal and the cycle of life. But what if we confront them with femininity? Can the meaning remain the same?
STRENGTH AND BURDEN
Why does she always look back?
The material climbing upwards is her strength, her curiosity about the world, her dreams, carrying the inertly hanging sacks of sacrifice and remorse.
“Her back is surprised
That it won’t break.
Her hands are surprised
That they won’t fall off.
She is not surprised.”
Anna Świrszczyńska
DANS LE BLEU DU CIEL
Suspended in the void, she would like to hide, to disappear, but like a black spot in the blue sky, exposed, alone, she collapses into herself.
The title refers to Kandinsky’s painting « Bleu du ciel. » There, the color of the sky contrasts strongly with the harsh reality, introducing a touch of hope.
M
Between motherhood and subjectivity.
The growing structure of matter both lifts and burdens, suggesting an internal process of accumulation, tension, and repression. The work draws on the representation of the Madonna in Fra Filippo Lippi’s painting, particularly her absent gaze.
TRAPS OF HABITS
I created this work from my tights, which I wore while running around Paris in 2008-2009, working as an architect.
Over the years, women accumulate habits, store trinkets, souvenirs and clothes. All this baggage builds our sense of security, but at the same time becomes a burden that blocks our further development.
Series: Woman being, n.12
Marble powder and resin | 2024
107 H x 40 W x 47 D (cm)
Edition: 1/8 | Available
BULGAVA
An unfathomable wealth of thoughts and feelings, unbridled matter that circulates, ripples, spills out. A woman is supposed to control it, keep it in check, even though it obscures her eyes.
REACHING FOR THE UNKNOWN
PERFECT CLOUD
A reminder of our dreams.
An image of ourselves. A vision to which we aspire or think we must aspire. In our youth so obvious to realize, later it becomes fuzzy and unattainable. More and more deeply hidden, but how dear.
MY CLOUD
UNCOMBED THOUGHTS
Isolation becomes the origin of form.
She draws on the environment, but creation needs isolation. In remoteness and solitude, intellectual liberation takes place, awakening an inner wealth of emotions, a multiplicity of interpretations and intentions. They flow around the head like billowing smoke, exploding.
TIPPING POINT
„Tipping point” represents a turning point, a step into the unknown, which requires great determination and courage. A moment when any scenario is still possible, a moment when we are experiencing both fear and hope. The surface of the sculpture is the boundary between the fall and the road to success. The face partially covered by the swirling matter can draw energy from it or be swallowed up irretrievably.
The title of the sculpture ‘Vestalis’ indicates that the author’s focus is on the role of woman as guardian. She makes a clear reference to the role played by selected women in ancient Rome.
The expressive force of the work is the repetition of the figures. Set in a line, they are a reference to the decorative motif of paper cut-outs, popular in the folk culture of many regions of Poland.
Each woman grows out of a ball of openwork strips, the colours of which symbolise: roots, nature, femininity. The pattern is taken from the style of the Łowicz stripes of the Mazowsze region, where the author is currently working.
On a colourful base, the figures balance in search of equilibrium. The stabilising element is a white belt connecting them. The more vestals there are, the stronger this bond becomes, becoming a guarantee of permanence and continuity.
The arrangement of the hair, which melts into the shape of the figure, is reminiscent of an egg, the symbol of life. The hairstyle evokes a modern haircut, or perhaps an oversized soldier’s helmet. It suggests that the role of woman that the modern world imposes is too difficult, but through her own strength reinforced by her bond with others, rooted in culture, a woman is able to cope with it.
VESTALIS
She lifts up the pigeons with dignity and grace. Birds, with symbolism used in art for centuries, in the hands of a woman can provoke a whole range of associations. A guardian of peace, love, balance intertwined in an endless sequence of intergenerational female bonding. She takes on a special meaning against the backdrop of today’s events – Iran, Ukraine….
Fragile, delicate, ephemeral in an ominous environment, as in the painting ‘L’infante égarée’ by surrealist Marion Adnams. The construction of the skirt is also a reference to this work. Instead of paper, the author uses a net. Its airiness suggests a readiness to free oneself, to open up to a new reality.
The need for freedom and acceptance is strongly accentuated by the rejection of clothing.
“Vestalis” is meant to evoke a sense of strength and hope drawn from nature, one’s own identity, human bonds. Only the aperture over the eyes reminds us of adversity and limitations. This detail introduces a certain unease and poses question marks.
Marble powder and resin, steel | 2022
230 H x 190 W x 190D (cm)
Edition: 2/7 | Available
RAY OF LIGHT
The light of southern France has inspired and attracted artists for centuries. “Ray of light” depicts the moment of exposing one’s face to the sun, a moment of truly connecting with the energy and drawing strength from it. This sculpture is her turning point, her drawing on energy and finding courage within herself.
Bronze | 2020
190 H x 120 W x 190 D (cm)
Private collection. Garden of apartament complex „ Jardin des Arts” Hyères – Côte-d’Azur (French Riviera), France.
