Urszula Kalinowska

Your statement mentions creating “a small, new world” from daily situations. Could you describe how an ordinary moment evolves into these abstract visual narratives?

Yes, that’s true, I always describe my graphics as “a small new worlds” that I’m tring to build and afterwards show to my viewers. In my mind and my art language, graphics are always about small moments. I look at home pets or public transport and I think to myself: ” ohh this lines there are impressive” or “I love this colour”. For a long time I was wondering if other people can see that too? I tried to talk to my friends or relatives and I leaned that not always. That was the moment I decided to work on project that can show what I see on ordinary world, that we sometimes miss beeing in a hurry. So basicly to summerise what I want to say, I see some object and I look for costrasts and create a picture out of it.

What role does experimentation play when working with multiple metal plates in your etching process?

For a long time I was learning that experiments are not always bad. Previously I had a plan what I wanted to paint or draw. In photography you also can control what you’re picturing. With etching is always a small part of misterious action that you can’t do much about. It’s because not only you can decide what your doing. What I mean is that you can be the most precise but in the end once the printing machine is on and press the paper and plate together the power of pressing can move plate. And in the end the final efect can be sligthly different from what you were thinking about. The same story is also with paint that I use to print because the colour, I see mostly in the end because the printing proces is about press the paint into plate. In my particular case is also about the fact that I’m printing not only once at one paper. I use multipul metal plates that can move and make the final “child”, how I often name my works, looking a bit differently. Honestly I need to say that’s the thing I like about etching probably the most. But directly answering the question, experimetation plays a huge part of whole process.

Urszula Kalinowska | Chairs | 2023

What draws you to etching as your primary medium, and how do you approach color layering and line work?

At first it was about to learn new technique, than painting, and find myself a place where I can experiment and create works that I also can use as my tattoo designs. Afterwards I leaned how peacefull and lovely technique that is and I drowned in this colourfull world with endless posibilites. Mosty I’m in love with the fact that it feels always really close to me, almost like something mine. Almost like I invented, this whole process od printing muliple paterns on one paper. From the very first begining when I draw with cheep, oil crayons on walls at my grandmas flat I was attached to colour. As a kid I didn’t know quite well what I want to do with that but as a adult and more “self-shaped” artist I decided which path I want to follow. First I look for lines in world that’s surrounds me. In faces, public transport, ect. And then imagine how thick or thin this line can be when it will play the main role. With colours is always easier because I just think about combinations that fit to each other in my head and I give them a try.

How do you decide on the composition and the number of plates for a particular work?

That’s a good question, but I think there is no good answer for it. My whole journey with etching I started from one plate and black. And I felt like in a trap. Everything was in my opinion sad, without story. It just wasn’t me. Afterwards I decided to give two prints a try. It was still a one plate but suddenly I had a courrage to print it twice, one print on the other. It wasn’t easy and clean proces at the begining. A lot of tries and frustration guided me to a place where I learned how to move my hands not to destroy print. Usually I follow my instinct and create composition from plates I have and then I print. Sometimes I say “stop” to myself before I finish with the plan, because I find something already good. Sometimes I add more because the space feels empty. Again it’s about experimetation and my personal taste. I just play with it and wait for the effect.

Urszula Kalinowska | Cows Still | 2023

Which artists, art movements, or everyday experiences have most influenced your approach?

As a first artist, who inspires me, maybe not in a direct sens, but as a person, I will name Rene Magritte. He is for a long time one od my favorite artists. I was always truly impressed by his ideas and compositions. How he can play with his art and things that people think about his works. I need to say that I like to look at cubistic art pieces, moslty because of the lines that are hidden and in playfull sens build the image.

Urszula Kalinowska | Doublefaced | 2024

How do the cities where you live and study—Gdańsk, Lubeck, Kiel, Warsaw—shape your creative vision?

Here I definitely need to name my profesor, from master studies in Gdańsk. Her name is Magdalena Hanysz-Stefańska and for almost four years I was taking her class, the basics od graphics. Her approche to students made me feel listend and I was able to consider what I want to do in my graphics. For a two semesters I was also listening to advices from Hanna Kur, her assistant, she also helped me a lot with practicing my printing method.

I need to say that I learned a lot of beeing connected to the colour during my erasmus time as well. About what I want to say and how I feel with certain shades. 

To speak about cities, where I lived, Warsaw, Gdańsk, Bremen, Kiel and finally Lübeck, I need to say that old towns and friends that I’ve meet had biggest impact on my art. I always liked to sticke art, and not only art conversations that often drived me into ideas for another plate.

Urszula Kalinowska | Mosaisk | 2025

Your works invite different personal readings. Are there hidden symbols or recurring motifs that you hope viewers will notice?

In my works I’m tring to base on universal topics that can be read by anyone. Sometimes I use one plate more often but it’s mostly because it fits im my opinion to composition or I like the story which is behind it. I wouldn’t say that in my works are symbols that are having some hidden message. My goal was always to achive some kind of unsrealistic mosaisk, that everyone can read on his own. My works doesn’t contain any symbols but when somebody find something in the “jungle” of lines and colours I’m always more than happy for it.