Barbara Wesolek

Barbara Wesolek | Self Portrait | 2025

You often work with portraits. What attracts you most to portraying people?

I have a deep interest in feelings, emotions, human values and existence, meaning and sense of life.

For me personally, portraits are not only about the anatomy – the shape of head, lips, or nose, or other superficial things like the eye or hair colour.

Of course, when you portray someone, and want to do it in realistic way, you also must put much effort into all these details. But what fascinates me at most lays deeper. I’m always searching for emotions, feelings, moods, thoughts in that person, or even some aspect of their personality. I want to pour it all on paper or canvas. Show how I see and feel them.

I admire at most the portraits of such great masters like Rembrandt or Van Dyck – they are not just perfect painters or drawers from the technical point of view. They have managed to depict so much more. Emotions, characters, souls…

How do you choose your models – are they people you know personally or historical figures?

Actually both. Mostly I choose the closest people – family members, friends, the loved one. But sometimes I choose historical figures or famous people. Even by choosing other people than my closest ones, these are rather people I mostly feel a special connection to. I am somehow fond of them.

As an example – I created the drawings of Mikhail Gorbatchev or Yitzhak Rabin, because I have much respect for them. Apart from that, there seems to be something really human about them, which I can’t explain quite precisely.

Barbara Wesolek | Portret Michaiła Gorbaczowa

Your techniques include watercolor, gouache, and charcoal on beige paper. How do you decide which medium to use for each portrait?

Actually I feel comfortable in soft pastels, white and black charcoal on beige paper, seldom ink – when it comes to drawing; and in painting I prefer water paints – gouache, acrylic paints, watercolour.

In case of creating something more monochromatic, I choose charcoal on beige paper, or even ink. If I want to go for colours, then soft pastels or water paints.

What role does color play in your artistic expression, especially when you use unusual palettes like purple, yellow, or green?

It’s easier to explain it on the basis of examples. To crate the portrait of Edvard Grieg I chose blue, green, and yellow watercolour. These colours express the best my peaceful emotions while listening to the „Morning Mood“ from the suite “Peer Gynt”. Of course it’s strongly individual – somebody else could choose for their expression for instance pink, beige, and yellow. What is beautiful about art, one can express themselves in many ways. And the viewer can perceive it on their own way either.

You can use colour in emotional way. It’s nothing new – many much greater than me used colours as a form of emotional expression or symbolic, like Edvard Munch or Marc Chagall.

Barbara Wesolek | Portrait Of Bianka | 2024

How did your postgraduate studies at Magdalena Abakanowicz University of Art influence your artistic style?

I studied there both artistic graphics, and painting. The first direction was a great time of experimenting with various graphical techniques like: lino print, dry needle, or metal. It was an enriching experience. During the painting studies, the best time for me was the first semester. It was really hard work on drawing and painting. Intensive learning and studying.

Both of these postgraduate studies were a great opportunity to meet inspiring individuals – as well among the teachers, as students.

When it comes to your question, this intensive work had to have some effect on my perception or technique.

Additionally, crucial was the final conversation with one of my teachers. He looked at all the drawings I have prepared in the first semester. Some of them were in pencil, some in black and white charcoal on beige paper. He told me: „You know, when I look on your drawings, I have a feeling that sometimes they were made by two different persons.“ „Yes, because I don’t like pencil. I don’t feel it.“ – I replied. „So do what you really feel you want to.“ – He told me.

There was also another exchange of sentences during the same conversation. „What would you like to do?“ – he asked me. „I want to do portraits.“ – I answered. „So do them. Just they need to be really good. And if they are, then you can also experiment.“

That was a significant talk. It opened my eyes for the right direction. It reminded me what’s important for me, and where I want to go.

Actually, I would like to continue studying further at the University of Art, this time non-stationary. The Magdalena Abakanowicz University of Art still doesn’t offer however such possibility. So I need to wait for my chance.

Barbara Wesolek | Peter Tchaikowsky | 2025

Can you share the story behind one of your favorite portraits?

The Portrait of Bianka, my good and close friend, was created on the basis of a photography. It was a snap from her bachelorette party. I believe it was one of really happy moments in her life, and a joyful event for all of us – all the girls attending the party. I wanted to depict her wonderful, striking energy of joy, eyes shining with happiness, and wide smile. The colours used for it are intense and vivid. Exactly as her joy.

Barbara Wesolek | Grandma’S Portrait | 2025

Do you approach painting historical figures differently than painting someone close to you?

There is surely a difference. Even if you always draw or paint all the portrayed personalities as you perceive them, you know the closest ones the best – you know their attitude, complex personality or behaviour, their strengths and weaknesses. So the image you have is more realistic and detailed.

If you paint a historical, famous figure, or a stranger – it’s an impression. How they seem to you. You don’t know them usually personally – you have your own, private image of them, relying on historical facts or gossips. It’s not realistic. It’s much more intuitive, your gut feeling.

But what remains in common – I am fond of them.

We talked with my good friend lately, and she told me that – as for her – the essence of my drawings or paintings are subtle and delicate markings, as if I wanted to be gentle towards these people.

Probably she’s right. Drawing somebody is for me similar to soft touch. A gentle feel of their self.