Anna Sobkowiak
Anna Sobkowiak (b. 1980, Poland) is a figurative painter living and working in Poznan, Poland. She graduated from the Academy of Fine Arts in Poznan in 2006 (diploma in the woodcut studio), but also studied at the Academy of Fine Arts in Prague under the International Student Exchange Scholarship. She spent her formative years in three European capitals: Prague, London, and Warsaw, which has shaped her awareness of painting and appreciation for beauty in all its forms, even if not obvious.
For the last twelve years she has exhibited in Poland, the Czech Republic, Germany, and the UK, for instance, in Starter Gallery (Poznan, Poland) and Leto Gallery (Warsaw, Poland). After studies, she was associated with Poznan Nowa Gallery and was a laureate of the ‘Salted Candy 2010’ competition. Nowadays, she also participates in online international exhibitions, such as "Boundless Whispers" organised by Eve Leibe Gallery and Artsy, and curated by Artsin Square. She is a finalist of the competition Emerging Artists Programme 2023 organised by Contemporary Art Collectors. Her works, represented by Maggio Art Consultancy in London, are held in private art collections in Poland, Spain, Canada, and the United States.
She draws incessant inspiration to practise painting from great works of David Hockney, Edward Hopper and Claude Monet. What she finds mesmerizing in their works are the affirmation of life (Hockney), the intensity of the moment (Hopper) and vibrant colours (Monet).
The main subject of her works are relations between humans, including their feelings, thinking and acting, and the environment in which they live. The pictures depict mainly young people in highly ambiguous spaces and situations, which altogether creates atmosphere full of engagement, inner strength, passion and intensity of the moment. Currently, she is experimenting with depictions of Polish women. The area of her research includes females of different ages, with different aspirations and experiences, but the unifying factor is their strength, importance, meaning, and freedom.
Anna’s intension is to provide the viewer with aesthetic pleasure, which should evoke memories, give some kind of a soothing experience and help enjoy daily activities and life. To achieve this she focus on a brighter palette, vibrant colours, subtle light and a ‘soft’ way of painting. This metodology allows her to emphasize the affirmation of life.
Can you tell us about your artistic journey and what inspired you to become an artist?
My thinking about art was shaped during a family trip to Italy, when I, as a 12-year-old girl, visited Rome, Padua, Assisi, Venice, and Florence. This journey made a huge impression on me and since then — I would say — I have been looking completely different at art — admiring the paintings and sculptures of great artists, spectacular architecture as well as light and the Italian landscape. And then I understood that art is something exceptional and I wanted it to be part of my life. To make it as natural and everyday an experience as the people of Italy encounter on a regular basis. Truth be told, it was nothing special or orginal — I went to Italy and decided to become an artist.
What themes or concepts do you explore in your artwork, and why are they important to you?
The main subject of my works are relations between humans, including their feelings, thinking, and acting, and the environment in which they live. The pictures depict mainly young people in highly ambiguous spaces and situations, which altogether creates a slightly mysterious atmosphere full of commitment, inner strength, passion, and intensity of the moment. This procedure allows me to present the story hidden in the image. The area of my artistic research includes people of various ages, with a wide range of experiences, dreams, and desires.
Currently I am experimenting with depictions of Polish women from Poznan, which is trying to be one of the most liberal cities in Poland. I treat these representations on many levels, both visual and psychological and present the women in casual, intimate moments with their joys and worries. I’m open to diverse attitudes towards them: my own, other women’s as well as men’s. The leitmotif is their strength, importance, meaning, and freedom.
Could you describe your creative process, from ideation to execution? Are there any particular techniques or mediums you prefer?
I collect many folders with images on my computer and in my head. Before I start working, I think a lot about the painted character, their particularly representative features. I experiment a lot with computer sketches until they eventually become the final choice. I always begin with a very careful sketch on the canvas, which allows me to paint in a very intuitive way even if I don’t stick to the original drawing. Some of the painted details go far beyond the mimetic depiction, but are closer to poetry or music. I’m always curious where my intuition leads me this time. As Shakespeare put it, Methinks, I see... Where? In my mind's eyes. This perception/feeling of the painting process came to me suddenly and on its own and it is still intense and new to me.
How do you find inspiration when faced with creative blocks or challenges in your work?
I keep painting until I get it right.
Can you highlight a specific piece of your artwork that holds special significance to you and share the story behind it?
The most complex and demanding painting which I have made lately was 'Conquest of Paradise'. The most detailed sketch on canvas, a very important person to me, an attempt to capture her uniqueness on many visual and non-visual levels and finally finding the appropriate title — all of that seemed both a dauting challenge and a rewarding achievement. As one critic put it, the painting depicts a metaphysical scene of a bloodless, non-violent conquest of what was, according to tradition, irretrievably lost, and what can only be regained by a woman. My "Eve," or some later incarnation of her, subtly separates the sensual, the mundane, and the tangible from what might suggest a pure formal layer, some form of divinity.
How do you see your work evolving in the future? Are there any new techniques or mediums you're eager to explore?
Definitely I would like to combine two media: painting and animation. I have spent many years animating cartoons and I know that putting together gripping stories and surprising motifs may bring unexpected results. Because in cartoons everything is possible and nothing limits us. I am fond of children’s imagination, free from cultural constraints and petit bourgeois aspirations. The combination of these two media is new ground for me, I have previously dealt with them, but only separately. The painting will serve as a psychological and emotional portrait of the woman. The animation — by continuing in time — will present the story hidden in the image or its most important fragment. I want to analyze feelings such as delight, joy, fascination, and commitment.
What role does your personal experiences or background play in influencing your art? Are there cultural or social aspects that often find their way into your work?
I think that creating art is a process of subjectivization. Surely, every stage of life is different. The gloominess is typical of people in their 20s and 30s, and after 40 you don’t give a damn anymore. You get rid of your fragile ego and resign from the rat race. It is a good time to create art. I try to take care of my mental and visual field hygiene and I want to surround myself with aesthetically pleasing things or just collect them in my head.
Are there any artists, past or present, who have had a significant influence on your artistic style or philosophy?
At the very beginning of my artistic journey, the artworks of Chaim Soutine were a great and refreshing discovery. I referred to him and his oeuvre several times and it gave rise to my own style — somewhat melancholic figures and quite dark landscapes from the 19th century. Nowadays, visually, I draw incessant inspiration from great
works of David Hockney, who is a great colourist and admirer of life. I value works of Xenia Hausner, who also paints human figures in everyday situations and who prefers to paint women because, as she says, they seem more complex. And of course Jenna Gribbon for her poetry and sensuality in painting.
How do you balance the commercial aspects of being an artist with staying true to your creative vision?
I don’t care what I should paint, what topic is trendy, or what is Pantone’s colour of the year. I take my imagination very seriously and only creating on my own terms makes sense to me. I also don’t abandon cartoon animation. I am lucky that I can function in two professional roles. Many other artists are trapped in just one.
Can you share upcoming projects, exhibitions, or events where our audience can experience your work?
I am preparing for a solo exhibition "Mirror in a woman's handbag" at The Water Tower Gallery in Konin (Poland). This year, my works will be exhibited at BWA Gallery in Gorzów (Poland) and at Nine Line Galleries in New York. Which reminds me that I'd like to go to the Big Apple.
