Marta Rynkiewicz belongs to the leading group of coastal artists who debuted in the new century.Her painting differs from the dominant forms in this field today. Marta Rynkiewicz studied during a period when discussions about the meaning and future of painting were being revived, and the
auction market began to show keen interest in the works of young artists. Museums also started supporting young talents through exhibitions and acquisitions. Marta Rynkiewicz’s work was added to the National Museum in Gdańsk’s collection as part of a unique initiative to create a collection of young artists’ paintings, encompassing works by over a hundred artists from various backgrounds. Rynkiewicz’s art is like an exploration of the other side of the painting spectrum. Her work seems to escape from the “here and now,” avoiding constant engagement with the rhythm of change and the chaos of events, which have long become difficult to comprehend.
Her latest series, “Elements,” reflects an attempt to escape the daily narrative, where catastrophes, including the climate crisis, are inevitable, blending imagination with cultural and art historical references. Elements are a fundamental part of many cultures worldwide. They shaped and continue to shape our understanding of nature and ourselves. They symbolized not only the forces of nature but also human nature. In many cultures, elements were also perceived as sacred powers of nature. These elemental forces have absorbed and shaped humanity for centuries. Moreover, in spiritual practices, elements are interpreted as different aspects of life energy or cosmic energy.
Marta Rynkiewicz’s painting is like a journey to an ancient and distant world. It is a return to Arcadia, a place where there is a balance between the internal and external worlds.
What stands out most in her compositions is their exuberant mood, deliberate pathos, embrace of naivety, and playful engagement with pop culture. However, the fairy-tale atmosphere of her works is disrupted by an unease about what may happen (or what has already occurred). This is a world suspended between illumination and darkness, between the idyllic idea of St. Francis of Assisi—who referred to the moon, stars, sun, wind, and water as brothers and sisters—and a grim, expressive vision of humanity standing alone in the face of nature’s power.
Is the land of happiness now an irretrievable space? Most likely, unless there is a return to nature. As Vincent van Gogh advocated: “Loving nature, we understand art better.” (Wojciech Zmorzyński)
auction market began to show keen interest in the works of young artists. Museums also started supporting young talents through exhibitions and acquisitions. Marta Rynkiewicz’s work was added to the National Museum in Gdańsk’s collection as part of a unique initiative to create a collection of young artists’ paintings, encompassing works by over a hundred artists from various backgrounds. Rynkiewicz’s art is like an exploration of the other side of the painting spectrum. Her work seems to escape from the “here and now,” avoiding constant engagement with the rhythm of change and the chaos of events, which have long become difficult to comprehend.
Her latest series, “Elements,” reflects an attempt to escape the daily narrative, where catastrophes, including the climate crisis, are inevitable, blending imagination with cultural and art historical references. Elements are a fundamental part of many cultures worldwide. They shaped and continue to shape our understanding of nature and ourselves. They symbolized not only the forces of nature but also human nature. In many cultures, elements were also perceived as sacred powers of nature. These elemental forces have absorbed and shaped humanity for centuries. Moreover, in spiritual practices, elements are interpreted as different aspects of life energy or cosmic energy.
Marta Rynkiewicz’s painting is like a journey to an ancient and distant world. It is a return to Arcadia, a place where there is a balance between the internal and external worlds.
What stands out most in her compositions is their exuberant mood, deliberate pathos, embrace of naivety, and playful engagement with pop culture. However, the fairy-tale atmosphere of her works is disrupted by an unease about what may happen (or what has already occurred). This is a world suspended between illumination and darkness, between the idyllic idea of St. Francis of Assisi—who referred to the moon, stars, sun, wind, and water as brothers and sisters—and a grim, expressive vision of humanity standing alone in the face of nature’s power.
Is the land of happiness now an irretrievable space? Most likely, unless there is a return to nature. As Vincent van Gogh advocated: “Loving nature, we understand art better.” (Wojciech Zmorzyński)
Marta Rynkiewicz was born in 1983 in Gdańsk. From 2002 to 2009, she studied at the Faculty of Graphic Arts at the Academy of Fine Arts in Gdańsk, earning her diploma in 2009 under the supervision of Professor Jerzy Krechowicz, along with a painting annex supervised by Professor Henryk Cześnik.
In 2007-2008, she studied at the Accademia di Belle Arti di Brera in Milan.
In 2007-2008, she studied at the Accademia di Belle Arti di Brera in Milan.
