Jan Gryka, HERE AND NOW.

Quite some time passed since the first exhibition of Marzanna Morozewicz in Galeria Biała in Lublin in 1996 and many changes have also appeared in her creation. Generally speaking, her first paintings were abstract and included geometrical forms connected with a painter’s gesture. They had some traits, say, of contemplation or meditational value, though they were not “sharp” and did not reveal the point of those early paintings’ cycles. From my perspective, the paining seemed to result from the process of academic studies, which does not, of course, undermine its quality, but only breaking the path introduced “the thing” which now defines the art of Marzanna Morozewicz.

 

Jolanta Brach-Czaina, MASKS, SHELLS, EASTER EGG.

What is it really that photographs show us? They mostly depict silhouettes, clothes, faces and hands. Or sometimes bare bodies on the beach. How does all of that relate to the living person, his or her presence in the constraining body? This relatively small living space is where the whole activity of our spirit, thoughts and emotions is created and concentrated. It is here that the experiences accumulate, slowly marking the surface of our body, giving it an ever new expression.

 

 

 

Grzegorz Borkowski, PAINTING POSSIBIBITIES.

The inventiveness found in many works by Marzanna Moroziewicz reveals the significance and the special expression of the basis on which they are created, leading to something which was present in the oldest form of painting, when it was still done on walls. (…) Therefore, what with works which are not painted on a wall but on the human body?