Zuzanna is a Fine Art artist currently based in the United Kingdom. She graduated from Painting in Gray’s School of Art in Aberdeen, Scotland in 2020. Born in Katowice, Poland, she finished her secondary and high school education in the High School of Fine Art (Ogólnokształcąca Szkoła Sztuk Pięknych) with the specialisation in Silversmithing and a diploma in Painting and History of Art. Between January and June 2019 she was part of the painting studio of Marek Meduna in at the Academy of Fine Arts in Prague.
My current studio practice focuses on depicting trees that have been moved and transplanted elsewhere which symbolises my dislocation from home and living in a foreign country. As someone living and traveling all across Europe I am experiencing a lot of cultures but none of them simultaneously.
The reality of my works falls between the boundary of the real and imaginary world and fuses elements from both. This creates a poetic sensibility that often feels dreamlike. I am often staging, or adding to, already existing scenes to create my compositions. The metaphors and symbols that appear in my works come from my own experience of longing for a homeland and Slavic culture which consists of rituals involving worshipping the elemental grandeur of nature. Therefore, a symbolism of trees, cut roots, and fallen leaves often appear in my work as a repeatable concept that reflects on human life and emotions. In my work, trees and roots are often dramatically separated from each other, which acts as a figurative depiction of the experience of cultural displacement. This emotional consternation often leads to attempts to find and form new cultural connections. This is reflected in my practice by symbolic depictions of processes such as roots adapting to new soil and trees trying to grow new branches.
I often use dramatic lighting to suggest profound emotional disorientation, which is influenced by classical Eastern literature of writers such as Fyodor Dostoevsky and Adam Mickiewicz. Through my work, I explore my connection to home, but also my experience of living and understanding a foreign country.
Because of its immediacy, mark-making, and tonality, charcoal is currently my primary medium, which I use to build up large-scale drawings. Its natural origin and predisposition allows me to deeply participate in the drawing process, using my hands directly on the surface to smudge and form shapes. It is an intimate action that allows me to be close and get involved with the subject on a very practical and personal level. The medium of drawing helps me to break down language barriers and enables me to create works on this theme of dislocation which many people can relate to.