{"id":7983,"date":"2026-07-10T10:52:17","date_gmt":"2026-07-10T10:52:17","guid":{"rendered":"https:\/\/galeriamiejska.pl\/?p=7983"},"modified":"2026-08-27T10:29:25","modified_gmt":"2026-08-27T10:29:25","slug":"","status":"publish","type":"post","link":"https:\/\/galeriamiejska.pl\/en\/natasza-mirak-kamila-szadaj-i-daniel-krysta-materia-i-tozsamosc\/","title":{"rendered":"Natasza Mirak (Kamila Szadaj) and Daniel Krysta \/ Matter and Identity","raw":"Natasza Mirak (Kamila Szadaj) and Daniel Krysta \/ Matter and Identity"},"content":{"rendered":"\n

On 23 July, the Wroc\u0142aw City Gallery opens Matter and Identity, a remarkable encounter between two autonomous artistic stances united by a rich and wide-ranging drawing on the painterly tradition.<\/strong><\/p>\n\n\n\n

<\/div>\n\n\n\n

In her work, Natasza Mirak (Kamila Szadaj) draws on the legacy of the old masters, portraiture, the icon, the decorative language of Art Nouveau and magical realism, weaving all these influences and inspirations into an eclectic painterly structure. At the centre of her paintings stands the female figure in its theatricalised dimension \u2013 one built up from costume, prop and ornament. Although Mirak\u2019s heroines are styled as ladies from bygone eras, the artist frequently places them within contemporary settings, juxtaposing them with fragments of today\u2019s urban landscape, technological accessories and elements of mass culture. By building a bridge between present and past, the painter addresses the universal experience of femininity. More broadly, she asks what painting means today \u2013 in an age of triumphant technology, overproduced images and ceaseless quotation.<\/p>\n\n\n\n

Daniel Krysta, for his part, draws openly on hyperrealism, matter painting and the still-life tradition, developing from these references a distinctive painterly language. Built on a process of reduction, his paintings detach technological objects from their utilitarian function and draw them into an almost metaphysical realm of silence. In doing so, the artist strips everyday life of its banal element, to capture it as a universal symbol of the man-made world. Underlying this painterly strategy is the question of whether spiritual experience remains possible in a world of machines.<\/p>\n\n\n\n

The two artistic practices differ markedly in their power of impact. Krysta\u2019s painting is grounded in silence, Mirak\u2019s \u2013 in polyphony, yet both artists share an ambition to root painting in its historical sources and, in doing so, restore to it the seriousness of seeing.<\/p>\n\n\n\n

In his catalogue text, Robert Gaw\u0142owski captures the differences and affinities between the two artists\u2019 creative strategies with great precision:<\/p>\n\n\n\n

Krysta seeks the boundary at which the image of an object loses its obviousness and begins to act through its mere presence, while Mirak the boundary beyond which representation loses its innocence and reveals its own theatricality. These two stances form a kind of diptych. On one side stands the thing \u2013 concentrated, technical, detached from function, given over to silence. On the other stands the mask \u2013 luminous, many-layered, historical, alive to the play of gazes. Krysta\u2019s thing and Mirak\u2019s mask speak different languages, but both defend the same thing: the picture\u2019s right to mystery. And perhaps that is just why their painting, so different in register, meets in a single recognition: a picture is most alive when it does not explain the world to the very end but leaves within it a place where the thing begins to fall meaningfully silent, and the mask goes on looking longer than the face.<\/em><\/p>\n\n\n\n

The opening of the exhibition will be accompanied by a concert (Agata Przy\u0142ucka \u2013 bassoon, Yurii Fedorkiv \u2013 bassoon; under the artistic supervision of Dr hab. Katarzyna Zdybel-Nam) and will take place on Thursday 23 July at 6:00 p.m.<\/p>\n\n\n\n

The exhibition runs until 26 August 2026.<\/p>\n\n\n\n

Curator: Miros\u0142aw Jasi\u0144ski<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n
\n
\"\"<\/a>
Natasza Mirak, Between tides, oil on canvas, 30×30 cm, 2025<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"\"<\/a>
Natasza Mirak, Lotus Flower, oil on canvas, 80×100 cm, 2024<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"\"<\/a>
Natasza Mirak, Somewhere There, oil on canvas, mixed media, 150 x 80 cm, 2024<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
\n
\n
\"\"<\/a>
Daniel Krysta, GR76, acrylic on canvas, 70x50cm, 2022<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"\"<\/a>
Daniel Krysta, Instrument 9, acrylic on canvas, 100x70cm, 2024<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"\"<\/a>
Daniel Krysta, RG65, acrylic on canvas, 100x140cm, 2021<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

<\/p>\n","protected":false,"raw":"\n

On 23 July, the Wroc\u0142aw City Gallery opens Matter and Identity, a remarkable encounter between two autonomous artistic stances united by a rich and wide-ranging drawing on the painterly tradition.<\/strong><\/p>\n\n\n\n

<\/div>\n\n\n\n

In her work, Natasza Mirak (Kamila Szadaj) draws on the legacy of the old masters, portraiture, the icon, the decorative language of Art Nouveau and magical realism, weaving all these influences and inspirations into an eclectic painterly structure. At the centre of her paintings stands the female figure in its theatricalised dimension \u2013 one built up from costume, prop and ornament. Although Mirak\u2019s heroines are styled as ladies from bygone eras, the artist frequently places them within contemporary settings, juxtaposing them with fragments of today\u2019s urban landscape, technological accessories and elements of mass culture. By building a bridge between present and past, the painter addresses the universal experience of femininity. More broadly, she asks what painting means today \u2013 in an age of triumphant technology, overproduced images and ceaseless quotation.<\/p>\n\n\n\n

Daniel Krysta, for his part, draws openly on hyperrealism, matter painting and the still-life tradition, developing from these references a distinctive painterly language. Built on a process of reduction, his paintings detach technological objects from their utilitarian function and draw them into an almost metaphysical realm of silence. In doing so, the artist strips everyday life of its banal element, to capture it as a universal symbol of the man-made world. Underlying this painterly strategy is the question of whether spiritual experience remains possible in a world of machines.<\/p>\n\n\n\n

The two artistic practices differ markedly in their power of impact. Krysta\u2019s painting is grounded in silence, Mirak\u2019s \u2013 in polyphony, yet both artists share an ambition to root painting in its historical sources and, in doing so, restore to it the seriousness of seeing.<\/p>\n\n\n\n

In his catalogue text, Robert Gaw\u0142owski captures the differences and affinities between the two artists\u2019 creative strategies with great precision:<\/p>\n\n\n\n

Krysta seeks the boundary at which the image of an object loses its obviousness and begins to act through its mere presence, while Mirak the boundary beyond which representation loses its innocence and reveals its own theatricality. These two stances form a kind of diptych. On one side stands the thing \u2013 concentrated, technical, detached from function, given over to silence. On the other stands the mask \u2013 luminous, many-layered, historical, alive to the play of gazes. Krysta\u2019s thing and Mirak\u2019s mask speak different languages, but both defend the same thing: the picture\u2019s right to mystery. And perhaps that is just why their painting, so different in register, meets in a single recognition: a picture is most alive when it does not explain the world to the very end but leaves within it a place where the thing begins to fall meaningfully silent, and the mask goes on looking longer than the face.<\/em><\/p>\n\n\n\n

The opening of the exhibition will be accompanied by a concert (Agata Przy\u0142ucka \u2013 bassoon, Yurii Fedorkiv \u2013 bassoon; under the artistic supervision of Dr hab. Katarzyna Zdybel-Nam) and will take place on Thursday 23 July at 6:00 p.m.<\/p>\n\n\n\n

The exhibition runs until 26 August 2026.<\/p>\n\n\n\n

Curator: Miros\u0142aw Jasi\u0144ski<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n
\n
\"\"<\/a>
Natasza Mirak, Between tides, oil on canvas, 30x30 cm, 2025<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"\"<\/a>
Natasza Mirak, Lotus Flower, oil on canvas, 80x100 cm, 2024<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"\"<\/a>
Natasza Mirak, Somewhere There, oil on canvas, mixed media, 150 x 80 cm, 2024<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
\n
\n
\"\"<\/a>
Daniel Krysta, GR76, acrylic on canvas, 70x50cm, 2022<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"\"<\/a>
Daniel Krysta, Instrument 9, acrylic on canvas, 100x70cm, 2024<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"\"<\/a>
Daniel Krysta, RG65, acrylic on canvas, 100x140cm, 2021<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

<\/p>\n"},"excerpt":{"rendered":"

painting exhibition<\/p>\n","protected":false,"raw":"painting exhibition"},"author":1,"featured_media":8000,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_pl_post_content":"\n

24 lipca publiczno\u015b\u0107 Galerii Miejskiej we Wroc\u0142awiu b\u0119dzie \u015bwiadkiem zrealizowanego w ramach wystawy Materia i to\u017csamo\u015b\u0107<\/em>, niezwyk\u0142ego pokazu dw\u00f3ch autonomicznych postaw artystycznych, kt\u00f3rych punktem wsp\u00f3lnym jest bogate i wielokierunkowe czerpanie z malarskiej tradycji.<\/strong><\/p>\n\n\n\n

<\/div>\n\n\n\n

Natasza Mirak (Kamila Szadaj) w swojej tw\u00f3rczo\u015bci si\u0119ga po dziedzictwo dawnych mistrz\u00f3w, portretu, ikony, secesyjnej dekoracyjno\u015bci oraz realizmu magicznego, splataj\u0105c wszystkie te wp\u0142ywy i inspiracje w eklektycznej, malarskiej strukturze. Centralnym punktem jej obraz\u00f3w jest posta\u0107 kobieca w swoim steatralizowanym \u2013 zbudowanym na kostiumie, rekwizycie, ozdobie \u2013 wymiarze. Cho\u0107 bohaterki Mirak stylizowane s\u0105 na damy z minionych epok, artystka nierzadko wpisuje je w aktualny cywilizacyjny kontekst, zestawiaj\u0105c je z fragmentami dzisiejszego pejza\u017cu miejskiego, technologicznymi akcesoriami czy elementami kultury masowej. Przerzucaj\u0105c pomost pomi\u0119dzy wsp\u00f3\u0142czesno\u015bci\u0105 a przesz\u0142o\u015bci\u0105, malarka odnosi si\u0119 do uniwersalnego do\u015bwiadczenia kobieco\u015bci. W szerszej optyce natomiast, malarka zadaje pytania o znaczenie malarstwa dzisiaj - w epoce triumfu technologii, nadprodukcji obrazu i nieustannego cytowania.<\/p>\n\n\n\n

Daniel Krysta z kolei otwarcie czerpie z hiperralizmu, malarstwa materii oraz tradycji martwych natur, konstruuj\u0105c z tych odniesie\u0144 w\u0142asn\u0105 formu\u0142\u0119 malarsk\u0105. W jego - budowanych na zabiegu redukcji - obrazach technologiczny detal zostaje odseparowany od swojej u\u017cytkowej funkcji i wprowadzony w niemal metafizyczny obszar ciszy. W ten spos\u00f3b malarz wydobywa z codzienno\u015bci jej banalny element, by uchwyci\u0107 go jako og\u00f3lny symbol \u015bwiata skonstruowanego przez cz\u0142owieka. Za t\u0105 strategi\u0105 malarsk\u0105 kryje si\u0119 pytanie o to, czy w \u015bwiecie maszyn wci\u0105\u017c jeszcze mo\u017cna odnale\u017a\u0107 do\u015bwiadczenie duchowe.<\/p>\n\n\n\n

Obie praktyki artystyczne bardzo r\u00f3\u017cni\u0105 si\u0119 swoj\u0105 si\u0142\u0105 oddzia\u0142ywania. Sztuka Krysty osadza si\u0119 w ciszy, za\u015b Mirak \u2013 w wielog\u0142osie, jednak wsp\u00f3lnym d\u0105\u017ceniem obojga tw\u00f3rc\u00f3w jest ugruntowanie malarstwa w jego historycznych \u017ar\u00f3d\u0142ach, a przez to \u2013 przywr\u00f3cenie mu powagi widzenia.<\/p>\n\n\n\n

O r\u00f3\u017cnicach i podobie\u0144stwach istniej\u0105cych pomi\u0119dzy tw\u00f3rczymi strategiami obojga artyst\u00f3w bardzo trafnie pisze w tek\u015bcie katalogowym Robert Gaw\u0142owski: Krysta szuka granicy, na kt\u00f3rej obraz przedmiotu traci swoj\u0105 oczywisto\u015b\u0107 i zaczyna oddzia\u0142ywa\u0107 sam\u0105 swoj\u0105 obecno\u015bci\u0105. Mirak szuka granicy, za kt\u00f3r\u0105 przedstawienie traci niewinno\u015b\u0107 i ujawnia w\u0142asn\u0105 teatralno\u015b\u0107. Mo\u017cna wi\u0119c powiedzie\u0107, \u017ce te dwie postawy tworz\u0105 rodzaj dyptyku. Po jednej stronie znajduje si\u0119 rzecz \u2013 skupiona, techniczna, od\u0142\u0105czona od funkcji, poddana ciszy. Po drugiej maska \u2013 \u015bwietlista, wielowarstwowa, historyczna, \u015bwiadoma gry spojrze\u0144. Rzecz Krysty i maska Mirak m\u00f3wi\u0105 innymi j\u0119zykami, ale obie broni\u0105 tego samego: prawa obrazu do tajemnicy. I mo\u017ce w\u0142a\u015bnie dlatego ich malarstwo, tak r\u00f3\u017cne w tonacji, spotyka si\u0119 w jednym rozpoznaniu: obraz jest naj\u017cywszy wtedy, gdy nie wyja\u015bnia \u015bwiata do ko\u0144ca, lecz zostawia w nim miejsce, w kt\u00f3rym rzecz zaczyna milcze\u0107 znacz\u0105co, a maska patrzy d\u0142u\u017cej ni\u017c twarz.<\/em><\/p>\n\n\n\n

<\/div>\n\n\n\n
\nhttps:\/\/youtu.be\/ETkduF2jpEE\n<\/div><\/figure>\n\n\n\n

<\/p>\n\n\n\n

Ekspozycja potrwa do 26 sierpnia 2026 roku.<\/p>\n\n\n\n

Kurator wystawy: Miros\u0142aw Jasi\u0144ski<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n
\n
\"\"<\/a>
Natasza Mirak, Pomi\u0119dzy przyp\u0142ywami, olej na p\u0142\u00f3tnie, 30x30 cm, 2025<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"\"<\/a>
Natasza Mirak, Kwiat Lotosu, olej na p\u0142\u00f3tnie, 80x100 cm, 2024<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"\"<\/a>
Natasza Mirak, Gdzie\u015b tam, olej na p\u0142\u00f3tnie, technika w\u0142asna, 150 x 80 cm, 2024<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
\n
\n
\"\"<\/a>
Daniel Krysta, GR76, akryl na p\u0142\u00f3tnie, 70x50cm, 2022<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"\"<\/a>
Daniel Krysta, Instrument 9, akryl na p\u0142\u00f3tnie, 100x70cm, 2024<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"\"<\/a>
Daniel Krysta, RG65, akryl na p\u0142\u00f3tnie, 100x140cm, 2021<\/figcaption><\/figure>\n<\/div>\n<\/div>\n","_pl_post_name":"natasza-mirak-kamila-szadaj-i-daniel-krysta-materia-i-tozsamosc","_pl_post_excerpt":"wystawa malarstwa","_pl_post_title":"Natasza Mirak (Kamila Szadaj) i Daniel Krysta\/ Materia i to\u017csamo\u015b\u0107","_en_post_content":"\n

On 23 July, the Wroc\u0142aw City Gallery opens Matter and Identity, a remarkable encounter between two autonomous artistic stances united by a rich and wide-ranging drawing on the painterly tradition.<\/strong><\/p>\n\n\n\n

<\/div>\n\n\n\n

In her work, Natasza Mirak (Kamila Szadaj) draws on the legacy of the old masters, portraiture, the icon, the decorative language of Art Nouveau and magical realism, weaving all these influences and inspirations into an eclectic painterly structure. At the centre of her paintings stands the female figure in its theatricalised dimension \u2013 one built up from costume, prop and ornament. Although Mirak\u2019s heroines are styled as ladies from bygone eras, the artist frequently places them within contemporary settings, juxtaposing them with fragments of today\u2019s urban landscape, technological accessories and elements of mass culture. By building a bridge between present and past, the painter addresses the universal experience of femininity. More broadly, she asks what painting means today \u2013 in an age of triumphant technology, overproduced images and ceaseless quotation.<\/p>\n\n\n\n

Daniel Krysta, for his part, draws openly on hyperrealism, matter painting and the still-life tradition, developing from these references a distinctive painterly language. Built on a process of reduction, his paintings detach technological objects from their utilitarian function and draw them into an almost metaphysical realm of silence. In doing so, the artist strips everyday life of its banal element, to capture it as a universal symbol of the man-made world. Underlying this painterly strategy is the question of whether spiritual experience remains possible in a world of machines.<\/p>\n\n\n\n

The two artistic practices differ markedly in their power of impact. Krysta\u2019s painting is grounded in silence, Mirak\u2019s \u2013 in polyphony, yet both artists share an ambition to root painting in its historical sources and, in doing so, restore to it the seriousness of seeing.<\/p>\n\n\n\n

In his catalogue text, Robert Gaw\u0142owski captures the differences and affinities between the two artists\u2019 creative strategies with great precision:<\/p>\n\n\n\n

Krysta seeks the boundary at which the image of an object loses its obviousness and begins to act through its mere presence, while Mirak the boundary beyond which representation loses its innocence and reveals its own theatricality. These two stances form a kind of diptych. On one side stands the thing \u2013 concentrated, technical, detached from function, given over to silence. On the other stands the mask \u2013 luminous, many-layered, historical, alive to the play of gazes. Krysta\u2019s thing and Mirak\u2019s mask speak different languages, but both defend the same thing: the picture\u2019s right to mystery. And perhaps that is just why their painting, so different in register, meets in a single recognition: a picture is most alive when it does not explain the world to the very end but leaves within it a place where the thing begins to fall meaningfully silent, and the mask goes on looking longer than the face.<\/em><\/p>\n\n\n\n

The opening of the exhibition will be accompanied by a concert (Agata Przy\u0142ucka \u2013 bassoon, Yurii Fedorkiv \u2013 bassoon; under the artistic supervision of Dr hab. Katarzyna Zdybel-Nam) and will take place on Thursday 23 July at 6:00 p.m.<\/p>\n\n\n\n

The exhibition runs until 26 August 2026.<\/p>\n\n\n\n

Curator: Miros\u0142aw Jasi\u0144ski<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n
\n
\"\"<\/a>
Natasza Mirak, Between tides, oil on canvas, 30x30 cm, 2025<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"\"<\/a>
Natasza Mirak, Lotus Flower, oil on canvas, 80x100 cm, 2024<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"\"<\/a>
Natasza Mirak, Somewhere There, oil on canvas, mixed media, 150 x 80 cm, 2024<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
\n
\n
\"\"<\/a>
Daniel Krysta, GR76, acrylic on canvas, 70x50cm, 2022<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"\"<\/a>
Daniel Krysta, Instrument 9, acrylic on canvas, 100x70cm, 2024<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"\"<\/a>
Daniel Krysta, RG65, acrylic on canvas, 100x140cm, 2021<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

<\/p>\n","_en_post_name":"","_en_post_excerpt":"painting exhibition","_en_post_title":"Natasza Mirak (Kamila Szadaj) and Daniel Krysta \/ Matter and Identity","edit_language":"en","footnotes":""},"categories":[6,4],"tags":[232,31,231,55,230,26],"class_list":["post-7983","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-archiwalne","category-wystawy","tag-daniel-krysta","tag-galeria-miejska-we-wroclawiu","tag-kamila-szadaj","tag-malarstwo","tag-natasza-mirak","tag-wystawa"],"yoast_head":"\nNatasza Mirak (Kamila Szadaj) i Daniel Krysta\/ Materia i to\u017csamo\u015b\u0107 - Galeria Miejska we Wroc\u0142awiu<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/galeriamiejska.pl\/en\/natasza-mirak-kamila-szadaj-i-daniel-krysta-materia-i-tozsamosc\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Natasza Mirak (Kamila Szadaj) i Daniel Krysta\/ Materia i to\u017csamo\u015b\u0107 - 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