Only a few brushstrokes are needed for Weronika Dyląg to express the elusiveness of emotional states and reality itself. She developed her own technique, characterised by the use of air-spread fluid paint mainly without preliminary sketches with fluid paint and flows of air with a noticeable freeze of motion. While reflecting a vibrant and uplifting colour palette, her paintings convey spontaneity and an emotive aesthetic, pushing the boundaries of traditional painting techniques. Dissecting colour, form, and composition emphasises her style, influenced by her interest in psychology and social interactions as a celebration of positive emotion and the healing power of art and colour.
Weronika Dyląg is a multi-disciplinary artist, working with acrylics, oils, and photography, known for her unique technique and exceptional work with colour. As an internationally acclaimed artist, her paintings can be found in private collections in Poland, Belgium, France, and Hong Kong. The “Balanced Chaos” exhibition at the 3U10 Gallery in Warsaw is then a unique opportunity to see her latest works. It is a showcase of selected pieces from Dyląg’s “Journey” series – a vibrant exploration inspired by the captivating works of a Chinese painter, Chaung Che. The artist admits the series is a personal artistic odyssey for her, reinterpreting and echoing the essence of Che’s distinctive artistry while infusing it with Dyląg’s painting technique and expressive touch.
We spoke to Weronika Dyląg about her latest exhibition that combines tradition with modern expression, personal journey, maintaining well-being, and encouraging the audience to find beauty and harmony in chaos.
Berenika Balcer: Why the name “Balanced Chaos”?
Weronika Dyląg: In the beginning, there was chaos. It’s a force that surrounds us, whether we like it or not—in the war just beyond our border, in politics, and the everyday unpredictability of life. While chaos can be destructive, it also manifests as spontaneity, sparking creativity and unexpected beauty. The name “Balanced Chaos” reflects this tension between disorder and harmony. It also pays homage to the album “Chaotic Harmony”, which featured the works of Chuang Che and was published by Vazieux Galerie. His way of blending abstract expressionism with elements of nature deeply resonates with my own work, and this exhibition seeks to capture that balance between turbulence and tranquillity.
BB: It is your third solo exhibit. What was your professional and personal journey towards this exhibition?
WD: Yes, this is my third solo exhibition, and I’ve chosen to present a different body of work to reflect my growth, both personally and professionally. Over the years, my creative process has evolved, shaped by new experiences and perspectives. Each exhibition has been a step towards refining my voice as an artist, exploring various themes that resonate with me on a deeper level.
For Balanced Chaos, I’ve drawn inspiration from the delicate interplay between structure and disorder, a theme that feels particularly relevant given the current state of the world. My previous works explored themes of identity and nature, but this time, I wanted to challenge myself with larger pieces and new techniques that capture this concept of balance amidst chaos. On a personal level, this exhibition also marks a significant point in my artistic journey, where I feel more confident in pushing boundaries and embracing uncertainty in my work.
BB: Balanced Chaos opens at 3U10 Gallery in Warsaw. While being based in Warsaw, and having many incredible international collective exhibits under your belt – such as in Madrid, Genova, and the Opening Exhibition of Galeria Azur in Miami, it’s only your second exhibit in the Polish capital. What does it feel like to showcase your work here, in this space?
WD: I often feel like an outsider, and in a way, it was easier for me to exhibit abroad. Showing my work in Poland, especially in Warsaw, brings a different kind of anxiety. Before the opening, the tension was building, but it all dissolved during the hanging process two days before. A moment that stood out to me was when someone, who ended up purchasing one of my paintings on the day of the opening, asked if she could see the works early because she was so captivated by one of them. It was such a heartwarming moment—it’s one of those experiences that remind me why I create art. Having someone be so moved that they wanted to connect with my work before anyone else is the kind of validation you can’t ask for but dream of as an artist.
3U10 Gallery has been incredibly welcoming, and the space itself feels like the perfect setting for Balanced Chaos. The team has been so supportive, making the entire process smooth and enjoyable. I truly believe the works look their best in this space, and that brings me so much happiness.
BB: The exhibit is an exploration of the works of Chaung Che, a Chinese artist, who masterfully merges traditional Chinese techniques with abstract expressionist influences. What fascinates you in his work that translates into your own art and process?
WD: I’ve always been fascinated by the relationships between colours. In my previous series, I worked with a very limited palette—deep turquoise, opera rose, and cadmium yellow deep hue—each an intense, bold colour. However, discovering the works of Chuang Che was a transformative experience for me. His ability to blend bright, vibrant hues with softer shades and his mastery of black and white to create harmony made me rethink my own approach. His work had a profound impact on how I approach colour, composition, and balance.
Before encountering Chuang Che’s work, I was deeply influenced by American abstract expressionism, particularly the work of Helen Frankenthaler. Her approach to colour fields and fluid, organic compositions inspired me to experiment with paint in new ways. But Che’s influence pushed me even further out of my comfort zone. I decided to expand my colour palette, moving away from the familiar and embracing a new level of exploration. I began experimenting with the thickness of paint, letting the textures and layers interact in unexpected ways, allowing for more fluidity and spontaneity.
I love experimenting and have always appreciated the element of surprise in my process. Uncertainty is a key aspect of my work. Chuang Che’s approach reminded me that control, while important, is often limited. As an artist who tends to seek structure, learning to embrace what I can’t fully control has become an essential part of my creative process, leading to more dynamic and expressive results.
BB: Speaking of expressive – you’re known for your exceptional sense of colour, working with white, blue-ish, black, red, and raw linen backgrounds. And, you’ve also mentioned once your favourite colours, like turquoise, white, and pink. Are there any colours you haven’t used in your work yet but would love to try, and why?
WD: Just as some English speakers statistically dislike the word “moist,” I used to have a strong aversion to red. I avoided it in my work, opting for opera rose instead because red always felt too aggressive to me. However, after seeing the works of Ismael Lagares, I realised that in the right combinations, red can also be playful and dynamic. His work inspired me to give it a try, and I began using crimson red in place of opera rose. It opened up new possibilities for me and allowed me to explore the colour in ways I hadn’t before.
Right now, though, I feel drawn to a cooler palette. Even though I’ve often incorporated colours from the cool spectrum, I’ve tended to lean toward their warmer shades. Perhaps it’s because I subconsciously crave the warmth of sunlight, or maybe it’s just my natural attraction to those hues. But I do feel a pull toward exploring more purely cold tones, like icy blues and muted greens. It’s a new direction for me, and I think it’s time to challenge myself to dive deeper into the cooler side of the spectrum, which I’ve yet to fully explore.
BB: You often mention that your work intends to be a stop where viewers can recharge and energise to move forward against the adversities of life. But what do you feel when creating – is it a form of meditation, self-reflection, or journey itself?
WD: It’s difficult to put into words. Some of my works, like Autumn’s Dissonant Decay, begin with detailed drafts on paper or quick sketches on a tablet. There’s a definite element of “calculation” involved—thinking through proportions, scanning for balance, and intensely considering colour and space. But when I start applying the paint, something shifts. My ego dissolves, and I enter a semi-meditative state. The painting becomes an extension of me, and I become the painting. In that moment, there are no thoughts, just process—scanning, applying, changing, scanning again, and applying. It’s a flow that feels both natural and consuming.
The worst thing that can happen during creation is when my conscious mind takes control (laughs). That’s when I start overthinking, questioning every move, and I have to remind myself to step back and trust the process. I know this might sound a bit abstract, and as Wittgenstein once said, our language can limit us—what I’m trying to describe might evoke a different image in your mind than the reality of my experience. But in essence, when I’m creating, it’s not about conscious reflection or meditation in the traditional sense; it’s more about becoming one with the work and letting the process unfold organically.
BB: Focus on positive feelings, relationships, and things that reinforce us is crucial to your work. How do you maintain your well-being while working on new art?
WD: Planning and routine are essential for me. My brain thrives on structure, and it helps me stay grounded and avoid anxiety. When I first began talking with 3U10 about the exhibition back in April, I already had a plan forming in my mind. Just a few days later, I had extra canvases in my studio specifically for the exhibition. I knew exactly what I wanted to present, so I started sketching and creating drafts immediately. I didn’t allow myself to think, “There’s still time.” Instead, I began working the moment I knew the exhibition was confirmed.
Although I did feel some tension, it was manageable because I had a clear plan in place. At this stage in my life, I know myself well enough to understand what helps me stay productive and how to manage if I encounter creative blocks. I’ve learned how to keep the pressure from becoming overwhelming, and more importantly, how to work without sacrificing my well-being or the relationships around me. It’s all about balance, just like in my work.
Balanced Chaos at 3U10 Gallery in Warsaw will be open till 30th October.
