At the exhibition, the artist presents a cycle of paintings created in recent years, which emerged from both artistic practice and theoretical research in the field of abstract painting. The artist has long been engaged with the concept of the grid, searching for new possibilities of abstraction and exploring the boundaries of mathematical order.

​

The individual works are characterised by subtle shifts in colour tonality within defined fields and repetitions. Mathematical order – the calculated intersections of lines forming a grid – meets the spontaneity and energy of the painterly gesture. The cycle demonstrates how it is possible, through recurring and seemingly limited means, to continually develop and expand the creative field.

 

In her work, the artist explores the relationship between space and time, drawing on theories of contemporary music and its compositional methods. A particular source of inspiration is spectral music, which focuses on repetition and a contemplative character. The aim is to visualise certain phenomena characteristic of this music, representing an attempt at translation that is not direct; the boundary between image and sound remains fluid, ambiguous, and open to interpretation.

​

The starting point is always a blank sheet of paper or canvas, which gradually transforms into a space organised through the use of a grid. The artist further examines how visuality—understood as the structuring and organisation of space—can correspond with the musical perception of time. She is particularly interested in the tension between the defined and the intuitive, the mechanical and the emotional, the calculated and the unpredictable. The recurring motif of grids and geometric forms contrasts with the painterly gesture, which introduces elements of chance, expression, and the materiality of paint.

​

For the artist, the grid is not merely an organisational tool—it evokes the page of a notebook as a structure waiting for signs, words, and meanings, while also referencing the modernist ambitions of visual art. The grid is “flattened, geometric, ordered, anti-naturalistic, anti-mimetic, anti-realist” (Rosalind Krauss). Its regularity and organisational structure allow for infinite repetition and expansion across the surface.

​

In this context, the artist’s work resonates with that of Agnes Martin, whose grid paintings can be understood as meditative experiences of repetition.

 

Similarly, in the works of Katarzyna Jarząb, the grid is not an end in itself but a starting point for building tension between order and gesture, control and freedom, silence and sound.