Natalia Pawlus
Slotwina, Poland
Natalia Pawlus likes to say her linocuts are not abstractions, but rather everything you see is exactly what she intends for you to see. She got her start as a professor’s assistant working on graphics – preparing pieces and exploring with ink, pencil, and paint. For her larger works, Natalia uses individual matrices for the mold, piecing them together on a paper for the finished product. In 2014 she received a PhD in Fine Arts. She now works in the Graphic Department of the University of Silesia.
Artist Statement
I work in linocut, embracing the process of hand-printing as an essential part of my artistic expression. Every mark, every imperfection in the paper, every choice to leave space untouched — all become part of a narrative centred on the human figure. The human being — their face, emotion, fragility, and strength — remains my endless source of inspiration.
My compositions are built on the graphic trace and the tension between contrasts: expressive lines meet the silence of white space, geometric forms balance the organic nature of the portrait. I deliberately strip away symbolic attributes or distractions, aiming to direct the viewer’s attention to the emotions written across the faces of “my people.”
For me, representational art — especially when rooted in the human image — carries a unique challenge. It doesn’t rely on conceptual cues or easy answers. It is more of a question than a statement. That’s why emotional connection and silent dialogue with the viewer are so important to me. I seek that quiet exchange of gazes, where something deeply personal and universally human can be shared — wordlessly, but truthfully.
Hand-printed on noble Velin d’Arches paper, each impression varies subtly, making every piece unique and unrepeatable.
My compositions are built on the graphic trace and the tension between contrasts: expressive lines meet the silence of white space, geometric forms balance the organic nature of the portrait. I deliberately strip away symbolic attributes or distractions, aiming to direct the viewer’s attention to the emotions written across the faces of “my people.”
For me, representational art — especially when rooted in the human image — carries a unique challenge. It doesn’t rely on conceptual cues or easy answers. It is more of a question than a statement. That’s why emotional connection and silent dialogue with the viewer are so important to me. I seek that quiet exchange of gazes, where something deeply personal and universally human can be shared — wordlessly, but truthfully.
Hand-printed on noble Velin d’Arches paper, each impression varies subtly, making every piece unique and unrepeatable.
Artist Background
University Slaskye
Master of Fine Arts, 2008
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