You are the fourth person living in Poland to participate in the collective exhibition MAD About Jewellery at the Museum of Arts and Design in New York, after Ark Wolski, Paweł Kaczyński and Marcin Tymiński. Do you feel successful?
This is primarily the result of my hard work over 26 years, as well as immense determination and consistency. Yes, I am proud. Proud that I am the first woman from Poland, that I had the courage to take on the challenge, and that I have achieved a world-class level. But above all, because many times, especially at the beginning of my artistic journey, I heard that I was a weirdo, that I deviated from the norm, and „why are you doing this, nothing will come of it”. The industry also looked at me very critically. And yet, I have reached exactly where I wanted to be.
Is this success? I avoid that term because it doesn't really mean anything. Yes, I am immensely satisfied that I have overcome one of the most serious professional challenges in my life. MAD About Jewellery is a prestigious, one of the most important events of its kind – if not the most important – in the world, and the invitation itself is a great distinction for an artist. Participating in this exhibition was a fantastic experience, although it was also incredibly stressful.
Recently, you've often been attending events outside of Poland. Have you moved your artistic activities abroad?
In recent years, I've participated in the most important European trade fairs and events dedicated to art jewellery – from Amsterdam, through Bucharest and Barcelona, to New York. But I haven't by any means given up on attending events in Poland that are important to me. I really want to showcase my work in Poland, but unfortunately, there are fewer and fewer opportunities to do so. It’s easier for „unusual” creators like me to be noticed by leading galleries or significant collectors abroad. It's also easier there to receive invitations to participate in further important events dedicated to art jewellery. It was at one such event that I met Bryna Pomp, a world-renowned expert in the field of contemporary jewellery art, curator of the MAD About Jewelry exhibition at the Museum of Arts and Design. Bryna personally invites artists from all over the world to come to Manhattan to present their work. I don't recall ever seeing her in Poland… Furthermore, my jewellery fits very well with the visible global trend of combining various fields of art, such as painting or sculpture – these elements complement each other excellently in very interesting interiors that can also be perfectly adapted for exhibition purposes.
You’ve dreamt of taking part in MAD About Jewellery for a long time…
The dream of MAD appeared in my mind even before the pandemic, and with it, the question of whether I was artistically ready for this challenge. It took a while before I decided that I was. In the meantime, I just got on with my work, didn't set myself up for anything, and didn't expect anything. You know, I've never really pursued anything. All these invitations and accolades are purely the result of my consistent development. It's easier for me in that I truly love creating jewellery: testing new materials, searching for new techniques and unexpected solutions. It's my artistic micro-world, in which I enjoy complete freedom – because I decide everything. And at the same time, I have a great sense of perspective and humility. I suppose that's called creative maturity... I think so...
How did New York take you in?
Just like elsewhere, visitors reacted with surprise. They often thought they were objects, not jewellery. And that they were made of ceramic, so they didn’t hide their astonishment when they learned that I use techniques and materials... for building gliders, among others. In New York, more often than anywhere else, I heard, „I’ve never seen anything like this in my life.” It was also a surprise for visitors that I am from Poland – observing the expression of colours, they usually assumed countries from the South. Organisationally, I am absolutely delighted – it was the first time in my life I had such professional care from a committed team.
My stay in New York resulted in many interesting acquaintances and provided me with a lot of artistic inspiration – I am returning very satisfied. I hope to have the opportunity to pass on this energy to Poland and a considerable amount of knowledge about organising exhibitions that combine art, design, architecture and contemporary jewellery in one space. I would also like to show my work to a wider audience – to reach them with art that only a few know.
This is a difficult task, especially since you have your own niche, you don't let yourself be put in any box and you constantly break the rules.
It's a fact, people love to put things in boxes, so what you're saying makes me even happier. Unfortunately, jewellery is also subject to pigeonholing. This is particularly evident at fairs and markets, where jewellery makers are placed right next to „all sorts of bits and bobs”. I lament the fact that there are no events in Poland dedicated exclusively to artistic jewellery and that so few artists are involved in this field. Of course, there are many examples of items described as artistic jewellery in the media, mainly social media, but that's just an empty label. I often come across articles like „10 artistic jewellery brands you need to know”. And every time I realise I don't know a single one...
You create in the contemporary jewellery style, which is widespread globally, while in Poland it's practically unknown.
Contemporary jewellery, also known as modern art jewellery, is a movement where jewellery becomes a fully-fledged work of art. The value of the materials used is not the primary concern, but rather the idea, message, and form. Artists reach for unconventional materials and techniques, treating jewellery as a means of artistic expression. We have many excellent creators in Poland in this field, but unfortunately, they remain largely unknown. There is a lack of interest in their art from the media and audiences, a lack of education, and a lack of places where contemporary art jewellery can be exhibited. I create jewellery that has purely decorative functions, as well as works with a social message, such as those presented at I will put out „Do you see this?” in 2023. These are works that tackle important social or religious themes, designed to provoke thought and evoke emotions, not always positive ones.
My hallmark is the power of colour. Interacting with my creations strongly stimulates the imagination and emotions, recalling good memories and creating positive associations. For some, it's even something of a talisman. I very often hear this from people who wear my jewellery.
Does colour and form work like that, or is it some other „magic”?
I've thought about this many times. It seems to me that it's the result of my maximum commitment to every piece of jewellery. I never work against the clock; I always work until I'm truly satisfied with the result. I don't approach jewellery in a typically commercial way – it's meant to be a pleasure for me during creation and for the wearer when they wear it. Custom orders require a different timeframe – I need to feel the right moment, I need to „sense” the client, choose suitable colours for them, and consider the composition. That's why an order can take several weeks to complete. For me, jewellery is metaphysics – and that's the „magic.”.
Many may be surprised by the materials you use – completely unrelated to jewellery…
I've been creating jewellery from various materials from the very beginning. I have no limitations; if something catches my eye, I take it and put it away in my „for later” drawers. I combine different materials and artistic techniques, and for several years now, I've also incorporated model-making techniques and materials used in glider construction. The secret, however, isn't the materials themselves, but their interpretation. In jewellery – at least artistic jewellery – the value of the material is not the most important thing; what matters is what the artist can do with it, the techniques they use, their sense of aesthetics and composition, and what they want to convey through that jewellery. For me, jewellery is a challenge that never ends: I'm constantly searching for new materials and inventing new solutions. In my micro-world, there are truly no limits – anything is possible; you „just” have to figure it out and experiment.
I would like the person seeing my jewellery for the first time to think, "Wow, that's beautiful and unique!"
I would like her to feel curious first. For her to forget what she thinks jewellery is. She doesn't have to understand it straight away, or even like it. It's enough if she pauses for a moment and starts asking herself questions. If my work evokes emotions or stays with someone for a while, it means it has fulfilled its role.