Selected works

2025 Implications, painting, photography, object.

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Pomost Gallery, Lublin, 2025, Exhibition Statement:
We inhabit a world of senses, where our biological makeup and chemical processes dictate how we perceive the world around us. Accustomed to the sensory interpretation of shapes, colors, and motion, we struggle to imagine alternative realities, believing our experience to be objectively real. Since its inception, photography has served as a tool for exploration, revealing phenomena beyond the human eye's grasp. Similarly, painting, filtered through the artist's emotions and personality, can unveil hidden dimensions of our surroundings. This exhibition explores this concept, showcasing abstract works that challenge our sensory assumptions. The journey begins with paintings that build upon the logical process of color creation, culminating in wooden objects that distill visual elements to their essence. These abstract compositions present a "negative" of our world, where cyan becomes blood-red and blues transform into golden hues. Focusing on overlooked objects – a crumpled fabric, a stray thread – these works expose the inherent beauty often missed by our accustomed senses. By inverting colors and manipulating light, the familiar is transformed into an alien, abstract composition. Our interpretations of reality are shaped by sensory input, often leading to misattributions and a false sense of objective truth. This exhibition invites viewers to question these assumptions, exploring the illusionary nature of our perceived world...

2023 Composition in frosty tones,, an abstract painting, oil on canvas, 100cm x 100cm.

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The painting represents the artist's explorations into abstraction. The artist draws inspiration from landscapes, particularly wilderness and the outskirts of urban and rural areas. They distill essential elements from these surroundings and incorporate them into the composition. Geometric forms are juxtaposed with organic shapes, disrupting and then rebalancing the overall harmony.

2024 Biotones, oil on linen series, small sizes

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The works are reflection about the human organism, a biological structure confined within a geometrical order. This geometrical order is an intellectual and material construct created by society.

2024 To war, I will take a bunch of red paint and a tube of red grapes

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This is the title of three works—small portraits abundant in shades of red. The provocative title emphasizes the absurdity of war and the unnecessary enormity of human suffering. These are oil paintings on thick linen canvas, with dimensions of approximately 35 cm by 30 cm.

Obraz abstrakcyjny w chłodnej tonacji. Przedstawia rozproszone elementy geometryczne na tle impresjonistycznego pejzażu. Jest to obraz o lekkim, optimistycznym przekazie.

Detal obrazu z serii Efekty atmosferyczne. Ukazuje fragmenty abstrakcyjnej kompozycji.

2023 Weather impressions, oil on canvas

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Accompanying Exhibition Text, Prudentia Apartments, Warsaw:
This series of six paintings is inspired by James Whistler's landscapes. Whistler used to represent light, fog and objects with simple means of expression. His specific technology of wiping off layers and applying subsequent ones, was giving the effect of characteristic brushstrokes, dynamics, lightness and ephemerality, which is difficult to achieve with any other creative method. Whistler was one of the first to show that painting is not only representation of reality, but above all a process, and the process of creation is especially important for an artist. He directed landscape painting towards non-representative painting. Weather impressions were made using a similar method. The paintings were created on the basis of the layers destruction and the imposition of subsequent ones. This is a specific variation on James Whistler's method of painting which allows to achieve the effect of evanescence and flashes. As a result the individual layers interpenetrate, and the underpainting and the drawing are deliberately brought out to the top layer of the painting. In addition to the painterly gesture and the trace of the brush, the perception of these compositions is determined by the dullness and gloss of the paint. Without unnecessary aestheticization, the winter landscapes of empty spaces are transformed into abstract images. Calmness is combined with dynamics, nuances with decisive brushstrokes, and disharmony turns into harmony. Paintings sizes from 40 cm x 60 cm to 100 x 100 cm, the series contains 6 works.
The complete series is in a private collection.

Tradycyjny obraz olejny na płótnie lnianym. Obraz łączy realizm z abstrakcją. Przedstawia mężczyznę walczącego z demonem.

Fragment obrazu olejnego pt. Walka. ciepła tonacja, odważne pociągniecia farbą.

2023 Adaptation series of paintings

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These are several works in earth tones, touching on the delicate nature of the human psyche and adaptation difficulties. Paintings sizes from 40 cm x 50 cm to 80 cm x 80 cm.
Certain works from the series are held in private collections.

Surrealistyczna atmosfera, chłodna stonowana kolorysytka. Odważne połączenie błękitów, fioletu i odcienia żółtego. Obraz przedstawia maskę i postacie.

Fragment obrazu olejnego, przedstawiającego maskę i postacie

Surrealistyczny obraz olejny przedstawiający ludzi w maskach. Osoby upozowane są jak do zdjecia a za nimi wyłania się niebieski balonik. Obraz jest utrzymany w stonowanej kolorystyce lecz niepokojący w odbiorze.

Fragment obrazu olejnego, zbliżenie na jednąz postaci w masce oraz na niebieski balonik.

2022 Masqueradeseries, oil on linen paintings

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The subject of the whole series is how the society and people close around us make an impact for assuming masks and poses and also alienation. Paintings sizes from 55 cm x 70 cm to 80 cm x 100 cm.

Obraz przedstawia kobietę, która żongluje różnymi elementami, odciskami ust, trójkątami. Poza czasem, żonglująca czasem.

Fragment metaforycznego obrazu, portret kobiety

2022 Alienationsseries, oil on canvas paintings.

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The Background of the works:
Alienation is the subject close to me and I think it is very important today. Nowadays, more and more societies are becoming societies of only children. This has a broad impact on social relationships. Secondly, there is a number of factors such as modern technologies, consumerism, which determine lifestyle. This currently determine the breaking of social bonds and making it more difficult to establish them. The series of paintings "Alienations" partly addresses these problems, using the example of a woman. These are portraits of women frozen in thought, between presence and absence in an abstract space.
Certain works from the series are held in private collections.

Obraz abstrakcyjny inspirowany motywami nadmorskimi. Odważne kontrasty pomiędzy błękitami a odcieniami żółtego. Kopozycja diagonalna.

Obraz przedstawia abstrakcyjną kompozycję, drobne elementy geometryczne i obfituje w kontrasty.

2021 Abstract paintings series

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The series is based on colour contrasts and combining sharp geometric forms with soft, rounded, organic forms. This is a continuation of searching for harmony among contradictory elements and dissonances. At the same time, it aims to individualize geometric abstract forms so that they pulsate with subcutaneous emotions. Impastos and textures are used to emphasize the play of light and colour.
Works from the series are held in various private collections.

INTERDISCIPLINARY PROJECTS

2019 Process, interdisciplinary project

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Exhibition at Piękno Panie, Lublin, Exhibition Text:
The exhibition is the result of a social media experiment that highlights the importance of communication on various levels and the deep human longing for lasting, authentic relationships with real people. It prompts reflection on what we truly leave behind online and how detached we are from our online activities. It serves as a reminder that modern forms of communication can lead to the loss of connection and an escape into solitude.
The collaboration between Katarzyna M. Rymarz, a Lublin-based artist, and Alejandro Magaña Avina, a Mexican from Zapopan, reflects a dialogue between two creators who met by chance in the virtual world and began collaborating on real-life projects. It is an experiment with form and content, as well as with communication between strangers who each speak a different language. In 2015, Alejandro Magaña Avina composed music for Katarzyna M. Rymarz's sketches. Now, the artists have reunited to conduct an experiment with written word and musical notation.
Katarzyna: When Alejandro sent me his story, potentially for illustration, I had to familiarize myself with its content without knowing Spanish. It didn't make sense for him to translate it into English, as English is also a foreign language for him. I thought technology would come to our aid and put the text into a translator. The result of the automatic translation was pure surrealism, filled with bizarre and powerful phrases. The process of rewriting this text seemed much more interesting to me than illustrating the story.
The result of this extraordinary encounter in virtual space and the search for a universal medium of communication for viewing and listening.

PHOTOGRAPHY

Fotografia abstrakcyjna. Utrzymana w ciepłej tonacji kompozycja inspirowana aktem kobiety.

Kompozycja abstrakcyjna w ciepłej tonacji. Kompozycja centralna inspirowana nagością kobiety.

Kopozycja abstrakcyjna na bazie nagości, subtelności, światła i cienia.

Prosta kopozycja horyzontalna, fotografia artystyczna. Struktury oraz kontrast barwny.

2014 Substance, photography series

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Exhibition Text, Pomost Gallery, Lublin
The main idea behind the presented series of photographs is the sense that physicality is not opposed to spirituality, that these two realms interpenetrate and complement each other. The way we understand our physicality shapes our spirituality. Spirituality, in turn, finds expression in matter. Taking this assumption as a starting point, I began to explore ways of photographing the body that would allow me to approach matter while simultaneously showing a certain kind of unease, that immaterial element that lies within it. In seeking appropriate means of expression, I wanted to approach the question mark that lies at the foundation of the material world, regardless of whether we consider it in scientific or metaphysical terms. The body in my photographs is torn from context. It is fragmented, not whole. Parts of the body illustrate other parts. Sometimes, it is not even necessary to photograph the body to achieve the impression of a body, of skin. The body ceases to be the subject of the photograph, the theme itself, and becomes a starting point for a composition that is largely abstract.
In the possibilities that photography offers, I am interested not in realism, but in creating illusions. Replacing one element with another. Creating an image. Finally, moving from illusion towards abstraction. For me, this is an interesting path in photography. The means of expression that photography provides are unique and specific to this technique. In this series of photographs, I used shallow depth of field and techniques specific to macrophotography, as they produce visual effects unattainable to the naked human eye. Zbigniew Dłubak once said about photography: "[Photography] does not have to imitate anything - it is simply the pure work of the camera, the pure work of the optical system, a certain spatial geometry. This is what I try to preserve." [The quote is from Z. Dłubak's speech during the opening of his exhibition "ASYMMETRIA'94" at Mała Galeria SPAF-CSW in Warsaw, March 1, 1994]. This view lies at the beginning of abstract or symbolic photography.
Some of my photographs are photomontages, as only this technique allows me to capture in the frame what is impossible to achieve with other methods. Photomontage, cutting, and compiling elements from different frames have their place in the history of photography almost from its beginnings. For me, it is interesting to use this technique to bring the composition even closer to abstraction. I hope that in the eyes of the viewer, this content-free body will take on additional meanings and remain in their memory for a long time.

Surrealistyczno abstrakcyjny obraz fotograficzny, przedstawiający fragment skórki człowieka na agresywnie czerwonym tle.

Surrealistyczno abstrakcyjna kompozycja ukazująca fragment ludzkiej skóry na geometrycznym, czarno fioletowym tle.

2018 Fragment, photography series

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Skin flake, a fragment of skin – a human shard, biological waste. It can lie anywhere, among inconspicuous ordinary objects, among luxury items, in beautiful lighting, or simply anywhere. This unassuming little object – for several months, I obsessively photographed it. The scenery changed, and the object dried out and persisted.