The Student Biennial of Small Sculptural Form is a competition dedicated to fostering and acknowledging the unique artistic perspectives of university students, emphasizing small sculptural forms, medallic art, and innovative sculptural concepts. The competition holds a special significance as it pays tribute to the artistic legacy of the renowned Polish sculptor, Józef Kopczyński.
During the 7th edition of the competition, the editors of Contemporary Lynx Magazine recognized and awarded two artists, Julia Baranowska and Kinga Grossmann.
In this interview, we delve into the creative minds of Julia Baranowska and Kinga Grossmann, exploring the inspiration behind their award-winning works and understanding their artistic journeys.
Zuzanna Auguścik: When did you first realise that you wanted to connect your life with art? How did your adventure with art university education begin?
Julia Baranowska: It seems to me that art was not a conscious choice, but an integral part of my life. I have always felt a strong urge to create, it has been my way of interpreting the world and a way of communicating with others. I can’t imagine a life where I don’t have contact with art, both as a creator and as a viewer. For me, art is an integral part of everyday life, almost as important as any other type of communication. The decision to go to art university was an obvious one for me, providing a natural path in my education and allowing me to be in an environment that has always been dear to me.
Kinga Grossmann: I believe I have been aware all my life that I want art to accompany me every day. Even as a child I actively participated in art workshops and competitions. However, it wasn’t until I was in high school that I started to think about what specific path I wanted to pursue in this field. Despite my young age, I decided to study furniture design at the University of Life Sciences in Poznań. Unfortunately, these majors didn’t fulfill my expectations, which forced me to drop out. I decided to take on a new challenge and try my luck at art studies. My choice fell on graphic design at the University of Arts in Poznań, which I managed to get into on the first try. I found it to be a much better choice, and despite some very tough moments that made me think about giving up on university, I am glad that I chose it, and that I am continuing to pursue it.
ZA: Can you tell us more about your award-winning work ‘The Quarrel’? What was its main meaning or inspiration?
JB: The work addresses the theme of arguing and the aggression and primitiveness associated with it, also showing a certain infantile nature. Its form refers to the animal world and was created with the intention of provoking a thoughtful response from the viewer. I wanted to make him think about the question of whether conflict is inevitable and what is its source and consequence.
ZA: Could you too, Kinga, give us an idea of the main meaning or inspiration of your work ‘Untitled’?
KG: My work exposes the harsh reality of student life. Due to the intense pace of studying, students cannot work as much as they could or would like, often leading to financial problems. High rent prices and bills force us to constantly save up for basic needs such as food. The sculptures representing typical cheap student meals intend to draw attention to the inadequacy of university and government support for students who have to provide for themselves financially and cannot rely on such help from their families.
ZA: Is sculpture your preferred medium of artistic expression, or do you experiment with different art forms?
JB: Sculpture is by far my favourite medium. The process of creating a sculpture in a physical dimension provides me with a unique feeling of creating a new reality that I have not experienced in any other medium. I also enjoy the multi-faceted nature of how sculpture is received, which depends not only on the form, but also on the texture, material and spatial context in which the work exists, and the perspective of the viewer…. I have sometimes experimented with other forms of expression, but none give me such a feeling of artistic fulfillment as sculpture.
KG: I study graphic design with a focus on intaglio. However, I like to experiment and learn new techniques, which is why I also chose a studio at my university where I can move away from typical graphic design. This is where my sculptures have been created. Outside the university, I also do functional ceramics but I try not to limit myself to it. That’s why I’ve tried to experiment with sculpture, and definitely the award-winning works won’t be the last ones I create, because working with clay gives me a lot of satisfaction and pleasure.
ZA: Where do you draw from or seek inspiration from? Are there any creators or artists who particularly influence your work, both in terms of style and the subjects it addresses?
JB: The themes of my work usually relate to problems that I have personally had to deal with and which I would find difficult to describe in words. The inspiration for their visual aspect, on the other hand, mostly comes from my dreams. Relatively often I dream consciously, that is, dreams in which I know I am asleep and knowingly participate in interactions with the reality occurring in them. The surreal elements of this world are a source of inspiration for me. In the creative process, I try to draw inspiration from my own subconscious, which gives my work a sense of authenticity.
KG: I think my biggest inspiration is my environment and the people around me. I have always been fascinated by human beings – their behaviour, their emotions – and I often focus on this in my work. I also often find inspiration in events from my life, treating them as therapeutic projects that help me cope with my current struggles. Regarding artistic impact, I don’t think there is any particular person who influences my work. I do observe the activities of many young artists on social media, which certainly shapes my ideas about the work, but I don’t consider this to be my main source of inspiration.
ZA: Tell us about your plans and projects. What do you plan to do in the foreseeable future or after graduation?
JB: I am currently working on a series of anthropomorphic works that refer to issues that concern me. In the process of creating them, I extract certain thoughts from within myself and render them in the form of a being. This process helps me deal with these problems by seeing them as something separate, a being that I can interact with but also tame. Art is something very personal and essential for me. I am sure I will never stop creating, no matter what my future holds.
KG: At the moment, I am most focused on projects for my studies, because through my professional work, I cannot let myself undertake other projects. Fortunately, in some studios, the professors give freedom to choose topics, which allows me to realise my own ideas instead of those that are imposed on me. I also try to make new ceramics on a fairly regular basis, which is what I would like to associate my future with. I also intend to continue my adventure with sculpture. At the moment I am considering creating a series of sculptures with a similar atmosphere to the award-winning ones but telling the story of childhood memories.
As for my post-graduation plans, for now it’s difficult for me to decide exactly what I would like to do. I often come up with new ideas or discover new fields that fascinate me. Nevertheless, my little dream is to teach ceramics classes.
