Personally look at her work, not as an interesting abstraction of the human form, but sense of using the human form to evoke deeper pools of thought and emotion. There is a "dark side" to her painting that drew me to her. Her work is very mature and loaded with visual clues and ambiguities. I see something deeper, every time.
I look at her work. This is what makes great art.


by Frederick Bidigare AWS, artist and collector

Kwapisz - Grabowska’s art is never obvious, because her paintings remain in between figuration and abstraction, drawing a thin line between beauty and ugliness. One can find many body parts suggestions across the artist’s canvases. Nipples, feet, hands, hair, but what Kwapisz- Grabowska tries to capture is a female body, with its constant metamorphosis, which leads to the continuous transformation of personality. Looking at her works is akin to witnessing the creation process, search for identity and ‘the process of becoming’. The spectator can feel anxious, because of synthesis and deformation, two of the artist’s favorite strategies. This unique, intimate atmosphere is intensified by her exploration of colour. Gray, white and black are counterpointed by strong pink and red accents. The artist experiments with paint layers, covering her canvases unevenly, sometimes with strong, impasto brush strokes, sometimes gently, like in a watercolor. She has developed her own painting style, in which she remains truly consistent.

Kwapisz-Grabowska painting stands in broader Polish and global artistic context. She is influenced by Teresa Pagowska, a prominent Polish painter and the leading personality of the New Figuralism movement. Echoes of Tadeusz Kantor’s esthetics are also apparent, especially of his informal period. Major European 20th century art icons, like Francis Bacon, had strong impact on her. Kwapisz-Grabowska shares a similar, brutal way of handling a human figure, deformation, love of colour and smooth backgrounds, leaving painted figures out of context. Some of those backgrounds are just unprimed canvases, another similarity with Bacon. The Polish painter challenges the long tradition of female nude, which has always been a domain of male academic artists. She follows the nude iconography laying women models down, undressing them, but she confronts the whole tradition from a different, woman perspective.


by Michalina Sablik, Bohema Nowa Sztuka, Warsaw, Poland

Kwapisz-Grabowska’s painting focuses on the construction and deconstruction of the human figure and consciousness. Bodies that are rendered in an almost topographic fashion are splayed out across the picture. Using a chalky, limited palette Kwapisz-Grabowska creates human forms that are sculptural yet flat, anonymous yet familiar. Her art explores our world, our personality, and our vision of ourselves. She employs a particular distortion that delivers an everyman to her audience, an intimate humanoid vessel representing the spirit of any one of us. Expressively posed figures overlap and coalesce with limbs that curl and turn back towards the body. Large expanses of color are rendered with a chiaroscuro forming cavernous shadowy pockets that draw our awareness in. These areas are complemented by the ambling scrawled linework that add definition to the composition.


by Agora Gallery, NY, USA

In 1999 Magda Kwapisz - Grabowska graduated from the Polish Academy of Fine Arts - graphic workshop / painting department.

Since then her paintings have received attention in Poland and internationally with the recognition in the 2010 Chelsea Fine Art Competition in New York, which was juried by Guggenheim Museum in NY. In 2015 she participated in course of theory of art and painting at the Universitat der Kunst in Berlin. She has presented her art in many individual and group exhibitions all over the world including Poland, Germany, USA, United Kingdom and Italy. She lives and works in Berlin, Germany.