Emma Grzonkowski

Metamorphosis by Emma Grzonkowski
Transcendence by Emma Grzonkowski
Caladium by Emma Grzonkowski
Earth III by Emma Grzonkowski
Heart by Emma Grzonkowski
Young by Emma Grzonkowski
Dancing In The Dark by Emma Grzonkowski
Till The Moment Has Gone by Emma Grzonkowski
Assoiffee D'Amour by Emma Grzonkowski
Sloth by Emma Grzonkowski
To Be Torn by Emma Grzonkowski
Greed by Emma Grzonkowski
Sanctified by Emma Grzonkowski
Electric by Emma Grzonkowski
For acclaimed up-and-coming contemporary fine artist, Emma Grzonkowski, painting is her passion, which she’s quick to point out. And taking just one look at her work, you’d be hard-pressed to argue otherwise as you’re visually confronted by empowering, graphically towering pieces of aggressive yet gregariously coloured compositions based on self portraiture for the large part. Dreaming of little else other than being a professional artist from an early age, Grzonkowski used to retire to her own little space as a child and adolescent thereafter to pictorially interpret the vivid imaginative meanderings that filled her head during her happy childhood spent in Cheshire, England. Although happiness soon turned to irritability and borderline self-loathing when Grzonkowski couldn’t commit to paper the very notion that she had in her head; not to the very high standard that she habitually set herself even back then. Hence her father stepping in to temper the situation by helping his daughter to draw and paint what she saw and more importantly, what she wanted to see in front of her.

Using her patient father’s representations as her own alternative starting point, a young, impressionable Grzonkowski would then pin these pictures onto her bedroom wall and sit their studiously recreating what her dad had done earlier. Over and over again and until such time as she was content with the finished pictorial article. Now that’s dedication to the cause for you. Needless to say, Grzonkowski went on to study Fine Art and Graphic Design at degree level at the University of Chester, from where she graduated in 2009 before embarking on her own creative career. Unfortunately this wasn’t without event, as she lost someone very close to her during her second year at Uni in tragic circumstances, which obviously shattered Grzonkowski’s dreams there and then and made her rethink her priorities in life. Thankfully in the end, Grzonkowski chose to channel this overwhelming sense of loss, anger and personal devastation into the one constant which she knew couldn’t be cruelly seized from her clutches, her art and her gift for painting, which she decided to throw herself into, partly as therapy, partly as her way of coming to terms with her loss and eventually turning negatives into positives which she readily believed that her soul-mate would have wanted to witness.

In terms of inspiration, Grzonkowski finds herself drawing on the energetic, visceral paintings of Bacon, Freud and John Piper, whilst of late, comic artist David Mack has piqued Grzonkowski’s creative interest, he who’s responsible for creating characters through the bleeding of water saturated colours, and in whose work you can see certain aspect of Grzonkowski’s. Although she admits as much herself, adding that the seemingly natural fluidity of Mack’s work influences her own presentations. Grzonkowski seeks divine inspiration from her own self experiences, such as those touched on earlier, and she sees her art as to some degree being a reflection of a particular experience or life event, positive or negative, and Grzonkowski’s visual interpretation of it. It’s this insular, introspective angle and illustrative perspective that explains why Grzonkowski places herself at the core of her key works of art and as the physical-most subject from which everything else revolves around. This, says Grzonkowski, pictorially emphasises the emotions with the surrounding backdrop, and it’s this fusion and juxtapositioning of the literal figurative content against abstract expressive forms, which provoke two different states of mind.

The process by which Grzonkowski gets her very visual message out to the masses is indeed a fascinating one, and stems from that most modern of mediums, the digital photograph. With Grzonkowski herself on lens duties, photographs are taken in one of two ways. Either spontaneous and sporadically at the hands of artist and muse, Grzonkowski, capturing that transient and oft fleeting raw emotional state or by means of time-considered compositions based on gradual settings that ultimately build up a picture through the passing of time and motion. Being a thoroughly modern Milly, Grzonkowski will then enhance the images digitally on her PC and seek to experiment with contrast and colour, to afford Grzonkowski a concept of light and composition. Meanwhile the artist elects to work on what she describes as a slightly textural surface to lend the composition additional layers of interest, which she creates by engineering expressive markings with acrylic paint via her hands.

Grzonkowski ensures that the application of paint isn’t too thick, therefore encouraging the material to bleed, and for this reason she employs water-based acrylics in thin layers of colour which are intricately constructed, from lighter tones and hues to the darker, more intense saturations. Leaving the paint to air and dry naturally, Grzonkowski applies a great deal of water which she directs the flow of to aid and abet this bleeding process. To finalise the piece, and when Grzonkowski believes that she has built up the required density of defined colouration, she runs amok with additional paints, physically throwing various colours and strengths over the last surface of the composition to almost contradict and compromise the effects of the hitherto more linear approach and administration of prescribed materials. This tape loop of defining then distorting perpetuates, until such time as Grzonkowski sees fit to halt the process by lightly sealing the canvas with a varnish to protect and volumize the sheen.

View All Art Works By Emma Grzonkowski