WERONIKA KAŹMIERSKA, 27.02.2025

"Me and My Dabbling"

The characters in Alicja Kubicka’s works exist outside the system, balancing between childlike freedom and mature nonconformism. They seem detached from reality—untouched by events in the external world. They can devote themselves to their own activities without encountering opposition, in a space where time does not exist. With determination, dressed in work uniforms and holding their packed lunches, they pursue an imagined duty. The life of an artist is continuous work—Alicja Kubicka documents it perfectly.

From numerous painterly sketches, a visual motif emerged, inspired by figures from ancient mythology—the tribe of the Blemmyes (from the Greek blepo, meaning “to see”). According to legend, these were headless beings who, despite this, lived and saw. Kubicka sees in them an analogy to artists who operate on their own terms, functioning contrary to the rest of society and immersed in their inner creative processes. She also finds her own reflection in this image.

Introspection and Intuition

The artist examines herself and asks, “Who am I?” She often contemplates her place in the world, analyzing actions, emotions, and relationships with her surroundings. The creative process is a dialogue both with herself and with the tools of her trade, which are not merely a means to an end. As she says, she could base her entire artistic career on the “image” of a paintbrush—the paper-mâché ones she creates are almost like self-portraits.

Her works result from intuition and experimentation. Although the artist often starts with a general concept, she allows herself to change direction freely during the process. She does not follow rigid rules but develops organically. She stretches the canvas on the frame herself because, even at this stage first compositional problems are being solved. Each work arises directly from the type of paint used and the chosen surface, with the creative process and materials determining the final appearance of the painting, which naturally becomes a story about the medium and the essence of painting.

Alicja Kubicka, fragments from the sketchbook

Seen and Unseen

Alicja Kubicka sees art as a space for transcending visual boundaries. Her imagery, hovering between grotesque and fairytale-like, draws heavily from childhood memories, ultimately addressing the challenges of everyday life. Here, nothing is one-dimensional or expected. Paper accommodates everything—especially the skilled painterly gestures of Alicja, who seems to have made it her ally for good.

In her daily practice, the artist explores how visual perception influences our understanding of reality. She admits that her vision impairment and the experience of temporarily losing sight allowed her to grasp the world’s nature more deeply:

"When I lose focus, everything I look at has a faint afterimage on the right side. It gives objects a second contour, as if they have a double edge. I think this makes me wonder whether there are other things beyond what we objectively see. So perhaps, for me, looking is interesting because you can see and not know, or see and not realize there’s an error in that seeing. Maybe this is what led me to visual arts after all."

Monolith – The Need for Authenticity

Skillfully avoiding prevailing trends and market expectations grants the artist the freedom she desires. She does not carry the burden of being “trendy.” She owes it to herself and creates the conditions for the natural development of her talent. Working on her own terms fulfills the need for a striking authenticity.

This raises the question: does the art market provide the right conditions for artists to make a living solely from their creative work? Should a painter be only a painter? Alicja admits feeling social pressure to have one clearly defined “center.” Perhaps this is why the theme of free choice is a recurring motif in her work.

In collection

WERONIKA KAŹMIERSKA, 27.02.2025

"Me and My Dabbling"

The characters in Alicja Kubicka’s works exist outside the system, balancing between childlike freedom and mature nonconformism. They seem detached from reality—untouched by events in the external world. They can devote themselves to their own activities without encountering opposition, in a space where time does not exist. With determination, dressed in work uniforms and holding their packed lunches, they pursue an imagined duty. The life of an artist is continuous work—Alicja Kubicka documents it perfectly.

From numerous painterly sketches, a visual motif emerged, inspired by figures from ancient mythology—the tribe of the Blemmyes (from the Greek blepo, meaning “to see”). According to legend, these were headless beings who, despite this, lived and saw. Kubicka sees in them an analogy to artists who operate on their own terms, functioning contrary to the rest of society and immersed in their inner creative processes. She also finds her own reflection in this image.

Alicja Kubicka, fragments from the sketchbook

Introspection and Intuition

The artist examines herself and asks, “Who am I?” She often contemplates her place in the world, analyzing actions, emotions, and relationships with her surroundings. The creative process is a dialogue both with herself and with the tools of her trade, which are not merely a means to an end. As she says, she could base her entire artistic career on the “image” of a paintbrush—the paper-mâché ones she creates are almost like self-portraits.

Her works result from intuition and experimentation. Although the artist often starts with a general concept, she allows herself to change direction freely during the process. She does not follow rigid rules but develops organically. She stretches the canvas on the frame herself because, even at this stage first compositional problems are being solved. Each work arises directly from the type of paint used and the chosen surface, with the creative process and materials determining the final appearance of the painting, which naturally becomes a story about the medium and the essence of painting.

Alicja Kubicka, fragments from the sketchbook

Seen and Unseen

Alicja Kubicka sees art as a space for transcending visual boundaries. Her imagery, hovering between grotesque and fairytale-like, draws heavily from childhood memories, ultimately addressing the challenges of everyday life. Here, nothing is one-dimensional or expected. Paper accommodates everything—especially the skilled painterly gestures of Alicja, who seems to have made it her ally for good.

In her daily practice, the artist explores how visual perception influences our understanding of reality. She admits that her vision impairment and the experience of temporarily losing sight allowed her to grasp the world’s nature more deeply:

"When I lose focus, everything I look at has a faint afterimage on the right side. It gives objects a second contour, as if they have a double edge. I think this makes me wonder whether there are other things beyond what we objectively see. So perhaps, for me, looking is interesting because you can see and not know, or see and not realize there’s an error in that seeing. Maybe this is what led me to visual arts after all."

Monolith – The Need for Authenticity

Skillfully avoiding prevailing trends and market expectations grants the artist the freedom she desires. She does not carry the burden of being “trendy.” She owes it to herself and creates the conditions for the natural development of her talent. Working on her own terms fulfills the need for a striking authenticity.

This raises the question: does the art market provide the right conditions for artists to make a living solely from their creative work? Should a painter be only a painter? Alicja admits feeling social pressure to have one clearly defined “center.” Perhaps this is why the theme of free choice is a recurring motif in her work.

Alicja Kubicka, fragments from the sketchbook

“You” with a Capital Letter

The artist does not seek seriousness, does not spark fires, does not preach, nor does she argue with the order of the world. Perhaps she only mocks it slightly—but always in a balanced way. She ensures that no one is offended. She is aware of the significance of words and the values they carry. She is troubled by linguistic ignorance and the neglect of language usage. She wonders how far this will go and asks: "Language evolves, but is it moving in the right direction? What if one day we stop understanding each other?"

In collection