Edyta Hul

Painting is the medium through which I am able to put memorized patterns, or I can create romantic simulated story. The character of my work is that it really relies on fortune. I believe, that the painter is both, a spectator but also a replicant, who paints not the painting, but about the painting. Using the language of painting I try to find in the imagination my subjective mimetism, which will be able to show me, not colloquial, but internal truth. Justifying analogous federation of nature and animals, I try to construct silhouettes similar to organic or hydrological forms.

Because of the unending hyperkinesis of organisms, fluent landscape, I reject literality to the subjective vision, to obtain (in my opinion) truly realistic image, that shows not exterior „portrait“ of the object, but a timeless vision of the movement and the frame of reality. I try to consciously choose the means of the aesthetic expression of a wide range of experiences. Enriched with several years of workshop experience, I paint from my imagination, making the act of arranging the image fills the thicket of swirling forms, repetitive modules, zoo- and biomorphic shapes. Both in painting and drawing, I am interested in the freedom in using the matter, moving through rich tangle of forms, manipulate with light, gloss and matt, consciously using the monochromatic colour.

Fragment of Anna Królikiewicz review, Academy of Fine Arts, Gdańsk:

„Inhale with glaze and exhale of the thick oil matter prevents the images from being flat. Without restraint, without fear, she develops brazen, wide smears, with an intuitive gesture of Jackson Pollock, or maybe a laundress – she spills, washes and recovers the image. As in Kleins Antropomethries, documents of life, made in the 50’s and 60’s of the twentieth century, which Sidra Stich compared to the way that analogue photography was discovered, where the body itself perpetuates its image – as human shadows on the walls of Hiroshima, as someone on the Veronica’s veil, Hul leaves animal traces on canvas and piercing points of the boiling energy.“

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