Ula Dzwonik (PL)

Born 1973

The polish artist Ula Dzwonik paints with acrylic on canvas, paper and fiberwood/plywood. She is educated at the Academy of Fine Arts in Wroclaw and has exhibited her works since 1999. She is represented at galleries, museums and private collections across the world and has received multiple awards, among other things the French WOMAN ART AWARD in 2017.

Ula’s preferred motif is her distinctive human creatures portrayed on raw backgrounds. They take part in an abstract reality and represent an entire range of emotions from despair to tranquility. The creatures have no distinctive features; they are angular and grey. They are anonymous except from their gender, especially the female, which defines them – a commentary towards or surrounding society. Ula uses colors like purple, pink, delicate green and red, but the violence in her strokes breaks with the feminine expression and on the contrary illustrates an animal roughness. The works does have clear references to nature; flowers, animals and mushrooms, which the artist mixes with sharp, geometrical shapes. In the adversarial relationship between organic and cubistic a division occurs, which is significant for the works.

Ula’s art does on the one hand stand out from the galleries other artists because of her distinct, wild worldview. At the same time, she is an obvious addition because she interprets realism – like many of our other artists. Ula is a highly talented artist with works who keep on unfolding new dimensions as you observe them.

– stud.mag. Nordic language and literature & Visual Culture, Anna Emilie Ravn

“Basically, the characters in the paintings of Ula Dzwonik are deprieved of individual features; instead they are rather symbols of human existence; they have no names or surnames, they are only endowed with gender and sometimes with social membership. A purposeful design and a substantial intellectual technique are to “dissect” a character from its natural environment. Owing to it, the characters exist in their “pure” form, without any landscapes but only on their own. We can see them more clearly – they are the Everymen, similar to each other, all of us and each of us; therefore, the artist’s painted story takes the form of the parable.”

Ewa Nowina – Sroczyńska – University of Łódz