In the work of Magdalena Szata, art becomes a quiet act of excavation. Moving between abstraction, surrealism and symbolic image-making, the Warsaw-based artist creates monochromatic worlds that explore what exists beneath the visible surface, spaces shaped by memory, intuition, transformation and emotional depth. Through intricate linocuts, pen-and-ink drawings and analogue photography, Szata constructs compositions that feel both deeply personal and universally reflective, inviting viewers into moments of stillness, introspection and psychological movement.
Working primarily in black and white, Szata uses contrast not simply as an aesthetic device, but as a conceptual language through which opposing states coexist: control and spontaneity, fragility and strength, chaos and structure. Her practice is rooted in process and repetition, with dense layers of dots, textures and tonal shifts gradually forming meditative visual environments that unfold over time. Rather than presenting fixed narratives, the works operate as open-ended emotional landscapes, allowing space for personal interpretation and resonance.
Central to Szata’s practice is an ongoing fascination with transformation, both internal and external. Nature, ritual, movement and subconscious experience all inform a body of work that seeks not only to observe change, but to embody it. This is especially evident in her recent project SELVA, a series exploring abundance, intuition and the coexistence of opposites through black-and-white linocuts and analogue photography. Across her practice, Szata approaches art as a form of connection, a means of navigating inner worlds while creating contemplative spaces for others to enter and reflect within.
Can you tell us about your artistic background and how your practice first developed?
I would describe my path as both self-directed and formally supported. I began drawing at a young age, and for many years my development was intuitive and driven by curiosity. Later, I completed a programme in Graphic Arts at the Academy of Fine Arts in Warsaw, which helped me refine my technical skills and deepen my understanding of visual language.
Your work exists between abstraction and surrealism. What draws you to that space, and how would you describe your visual language?
My work exists at the intersection of abstraction and surrealism. I am interested in the dialogue between the visible and the unseen, between reality and what lies beneath it. My visual language is built through contrasts: light and shadow, structure and fluidity, control and spontaneity. I try to create compositions that feel balanced yet open, allowing space for interpretation and emotional resonance.
Your works often feel intuitive and emotionally charged. How does a piece typically begin, and how does it evolve through the process of making?
My creative process usually begins with an intuitive impulse, an emotion, a fragment of an image, or a thought that feels unresolved. From there, I move into experimentation, sketching and exploring forms until a clearer structure emerges. In techniques such as linocut or pen-and-ink drawing, the process becomes both meditative and precise. I work slowly, building layers through dots or lines, textures and tonal transitions, allowing the final composition to reveal itself over time.
There is a subtle sense of narrative and symbolism within your work. How important are these elements to your practice?
Narrative and symbolism are present in my work, though often in subtle ways. Rather than telling a direct story, I aim to create an atmosphere or a sense of inner movement. The imagery can function as a kind of visual metaphor, open-ended and inviting viewers to project their own experiences and interpretations.
Nature appears to play an important role in your work. What continues to inspire you visually and conceptually?
I am deeply inspired by nature, its cycles, resilience and quiet intelligence. It constantly reminds me of transformation and renewal. At the same time, I am influenced by a wide range of artists and visual traditions, particularly those who explore emotional depth through minimal or monochromatic means.
Can you tell us about your studio environment and the rhythm of your working process?
I am currently based in Warsaw, Poland, where I work from my home studio. The space is intimate and personal, which allows me to stay closely connected to my process. I tend to work in focused periods, often returning to the same piece over multiple sessions.
There is a certain rhythm to it, almost ritualistic, where repetition and attention to detail become a form of grounding.
What are you currently exploring in your practice, and can you tell us more about your project SELVA?
At the moment, I am developing a project titled SELVA, which explores the idea of abundance beyond the notion of lack. In this series, nature becomes a metaphor for the inner world, wild, intuitive and filled with contradictions, yet deeply generative. The project consists of twelve black-and-white linocuts created using a dot technique, accompanied by analogue photography, forming an intuitive map of an inward journey.
Through dense, organic compositions, I explore the coexistence of opposites, structure and chaos, strength and softness, creating a space that invites reflection, immersion and personal exploration.
Where can collectors and audiences encounter your work?
Collectors can encounter my work through exhibitions, selected galleries and my website, where I also share ongoing projects and new releases.
For more information visit Magdalena’s website and Instagram
