MAGDA KIRK (MAGDALENA KIRKLEWSKA) is a Polish artist (b.1990). She graduated from the Academy of Fine Arts/ Painting Department in Gdańsk, Poland (2015). In her work, she focuses on the theme of body in the cultural and social context. She creates images of anonymous, incomplete bodies in a dreamy, blurry aura. Inspired by models, bodybuilders, and fictional characters such as superheroes, she plays with the cultural patterns of female and male body image and explores their impact on the ordinary, contemporary people’s identity, self-perception and self-expression. Putting together humour and horror, beauty and ugliness or cuteness and aggression, she shows the ambiguous emotions that accompany our intimate relationship with the body as a subject and object. She uses popular motifs and symbols from tattoo culture, trash graffiti, cartoons, and widely defined pop culture as a means of expression, often blending them in undetermined noise that forms the bodies’ flesh. The artist’s painting process is a meditation of putting multiple layers of color and airbrush doodles, which results in an impression of a luminous, unreal realism.
Hi Magda, thank you for sitting down with me. First question that I always ask. What does a regular day look like for you in Gdansk?
Hi Ruben, it’s a pleasure! It really depends on the day, but my life mostly circles around the studio. I have a nice big place here in Gdansk which is just a 10 min walk from home. I’m most productive in the night time, so I paint from afternoon till very late, and during the day I try to squeeze all the other things in. I don’t stick to any stiff schedule but I spend at least 8 hours daily on painting and things that go with it, like sketching, stretching, gessoing, varnishing etc.. There is always much to do.
So growing up, what kind of kid were you, what did you enjoy doing and how did you spend your time?
I was a lively kid with bruises everywhere and a branch in hand. I spent most of my time in the backyard of the block, playing with other kids. It was a fun backyard in a group of blocks. I liked to play elastic, squash, climb on trees and such. At home I loved to draw and do some stuff of modeling clay, which I sometimes sold to neighbors together with a friend from the block. I was also a scout. My parents were at work most of the time so I had a lot of freedom but also responsibility as I had to take care of my younger brother.
After you graduated from the Academy of Fine Arts in Gdańsk (2015), you took a break from art practice and reinvented yourself by working in different fields and traveling. Can you talk to me a little bit about that period In your life? Why did you quit making art and what kind of work did you do?
That break wasn’t intentional but I’m glad that it happened, as it changed me as a person and helped me understand a couple of things. I graduated, got married, traveled a bit, rented my first studio. I realized that the direction I had chosen for my diploma was limiting me rather than giving me new perspectives, so I started looking for something new. There was also a money problem, so I tried various normal jobs, but none seemed to work out for me, and I didn’t seem to work out for them either. I co-founded a business with some friends, an art bar, that was initially intended to be my side job, but turned out to be a wild ride that took up all my energy and ended up with a mental breakdown. Later I worked a bit in copywriting, and traveled, visiting different cities and having some time to explore. Not far, only in Europe, but it opened my eyes to a lot of things. After that ride through different universes and emotional states I looked at art in a new way, with an open mind.
What was your thought process like when you decided to start making art again? And furthermore, start taking it seriously and pursue being an artist ?
I was really angry at the time I lost, to the extent that time became my obsession. I valued every moment in the studio, ghosting calls and messages, finally doing what I wanted in peace. It felt like a miracle to me, so I had great determination to work despite anything, and a very humble mindset. The period of not creating art actually helped me open my mind and clear a bit from previous interests and academic influences. I didn’t have a clear plan though, I experimented with different concepts and techniques until I found a direction that truly resonated with me. So when I knew I was on the right track, the whole new life started.
Ok, let’s talk about your work now. How did you get introduced to the airbrush?
Airbrushing is a popular technique, but it wasn’t my first choice. It seemed too methodical and clean at first, with all the taping and such, and I was always more drawn to expressive, emotional techniques. I think it was when I saw some of Julie Mehretu’s works in person that it intrigued me and I decided to give it a try. So I just bought the simplest airbrush kit, and started playing with it. I fell in love with those glowing clouds of color. It made me feel like I’m literally painting with light rather than paint.
While we’re on the subject. What is it about the airbrush that makes you prefer it over a regular paint brush?
I love the blur and softness that it gives. Spraying paint also helps me layer colors naturally and smoothly. It turned out to be a much more versatile tool than it seemed to me at first!
I’m curious about your creative process. Can you walk me through it, from start to end result, and what you aim to convey.
I make many simple linear sketches of composition, then loose plans of color scheme on iPad. But I always leave much space for not knowing what the process will bring, as often this is the space for the magic to happen. Layers of pigment don’t work the same way as layers of color on iPad, so I get more interesting effects when I paint live, directly on canvas. I put layers of color and doodles, and bring out the form. Tattoos are like a mesh that builds up the bodies, not a decoration added in the end. They are inside the bodies and on the bodies. Layering is a meditative process and it feels a bit like sculpting. I’m focused on bringing out the general expression of the body, the specific spirit and movement, and the means of expression come intuitively. Sometimes when I stare at a painting for a long time, I do some tricks to regain fresh view, like put it away for a few days, look at it upside down, flip it, look with a corner of my eye, take it out of context… Both losing and regaining a fresh view are valuable parts of the process.
Can you also tell me about your use of symbolism?
It depends on how you define symbolism, but I avoid too much puzzle in my work. I think there is something forced and heavy about packing the visual message with puzzles. Of course I have nothing against this way of creating but it doesn’t work for me. Symbols should come organically, as the whole combination of form and content, not meant to be decomposed. Then only it can work in a dreamy, magical way and has proper sophistication.
The body is the theme of your art. Do you remember when you became interested in that topic? And could you also talk a little bit about what it is about the body that fascinates you.
Indeed, bodies have always fascinated me. It might have begun when I started doing nude studies before my art school exams, but even earlier, I recall drawing bodies at the age of 12. I’m interested in the way they move and express themselves, by their shapes and skin texture. I also had a period of strong fascination by body’s interiors. What I focus on now is body image, a projection of our bodies in our minds. To me, body image has a much broader meaning than just whether I think I look good or bad; it’s more about the body’s spirit. Everyone creates their psychological self-portrait that is ever-changing, like an aura or something like that. It is influenced by all our experiences, emotions, thoughts and conscious intentions. I find it fascinating how flexible this image can be.
While we’re on the subject of the bodies. What’s the reason for them being anonymous and unfinished? Also what’s the story behind the bodybuilder look?
They don’t have faces, but I aim to show their individuality in their bodies’ features. They are meant to be like a dream or like a reflection in a distorting mirror. And just like in dreams, it’s more about feeling than logic. Sometimes they’re lacking some body parts and that gives them specific expression. Most of them have something of a bodybuilder in them, as bodybuilders inspire me a lot. They are like hyper bodies to me. They are beautiful in some way and ugly in some way… both strong and vulnerable, dangerous and adorable. They have interesting, contrasting features, both physically and as characters.
With that in mind. Can you tell me about cultural patterns and exploring the body image and their their impact on the ordinary, contemporary people’s identity, self-perception and self-expression.
Our body image is obviously tangled up with what society tells us is perfect. For example, the idealized visions of the perfect man and woman and body standards, as well as the norms of behavior that go with them. They influence our perceptions and the way we experience ourselves in general in an unhealthy way, hitting in our sense of identity, self confidence etc. We look in the mirror and what we see isn’t real. But the thing is that there’s no one true image of ourselves. It’s always just a projection, no matter if it’s pleasant or unpleasant to us, it’s shaped by our attitudes and beliefs. It’s good to have this thought in mind. To a certain extent, we have the power to shape our own identities. Body image is just a portrait that we make of ourselves in our minds. The bodies in my work are neither positive nor negative. They are immaterial in some way, like in a process of transformation, seeking freedom and self-agency.
The various tattoo, cartoon and graffiti scriptures. What’s the background story there, when did you start adding them to your paintings? And do they symbolize or represent anything?
These are some leftovers of what I see in everyday life: images I come across on the streets, internet, people’s bodies, products that I use, etc. I also collect this sort of trash, like pictures of advertisements, logos, cartoons, cheesy graffiti, stickers, slot machines, pokémons, weird manga magazines, ice cream and soft drink designs, and more… I love pop culture trash and I find pleasure in making order of this chaos, as if I was making a mosaic. I use them as something like a 3d mesh that builds the forms from early stages of the process. They don’t necessarily symbolize anything specific but may reflect the character of the body in some hazy, intuitive way.
How long has it taken you to develop your current style with the dreamy blurred look? And could you also tell me about your approach to color and light?
I can see some beginnings very early in my art education, but it wasn’t a linear process with a specific timeline. As a beginner I was in love with early XX century art movements focused on light and color, like post-impressionism, colorism, fauvism. This is where it all started. For 4 years I painted mostly from nature (at the academy and before) and some of my works already had this hazy rainbowy vibe like today. But I tried different things, under different influences and interests. Later I got into dark shades and themes, where I explored layering and color depth with oil and resin. Next, on the contrary, I was interested in illustration and silly ignorant doodles. I also painted doodle abstraction inspired by my long to-do lists for some time. Finally, somewhere in 2019 I started to develop my current direction. I see it as the result of all previous experiences.
I know you have a solo show coming up, at Galeria Yusto / Giner, on May 31st, titled “Inner Glow”, can you tell me about that? and what’s the story behind that title?
“Inner Glow” is a reflection on feminine strength, tenderness, and self-love. It’s about the process of revival, where a girl, who could be anyone, embraces herself, gives herself unconditional love and support and leans into her inner child. For me this exhibition is very personal. There was a time when I was pushing myself to do more at all cost, burning my energy as if I was immortal, until I realised I was dimming my own inner light. The real strength is in being your own best friend that listens to you and supports you. It’s such a simple thing yet so hard to implement in life.
With that in mind, having had solo shows as well as group shows all over the world, including Doneness Art Lab in Taipei, Taiwan. Do you ever get nervous before? And what do you do to calm your nerves?
Solo shows are stressful, especially that one was. I almost forgot how to speak English. But I don’t complain, because it’s about my dreams coming true. I switch into action mode and rest it off later. Being nervous is just a part of it, no matter how confident I am, it’s a side effect of personal involvement. But I try to treat openings as meetings rather than performances. I like meeting people and talking to them, but I’m not a social ninja and I won’t be. Accepting this fact about myself made me feel much calmer and more free. Before the opening I say to myself: “relax, now your only job is not to screw up what you’ve already made”.
In a paralel universe who would you be? and what would you be doing?
Maybe I could be a poet, designer, psychologist, doctor or a witch. Art has been always my biggest dream, so I’m super happy that it came true in this universe as it’s one of the least realistic things to do for living.
Can you tell me a story about a time when a connection with someone had a big impact on you?
When I was 17, I met the painter who was my father’s friend, Andrzej Umiastowski. I showed him some of my early drawings from nature, saying that I want to go to art school. He said he saw something special in my work and encouraged me to pursue painting. Although he wasn’t a teacher on regular basis, he invited me to his studio, where he mentored me in painting for several years. He truly believed in me and it triggered great passion in my 17 year old self. Time with him gave me more than all art school.
What qualities do you find most important in the people you choose to spend time with?
Honesty and open-mindedness.
How would you describe a perfect day?
I like such days, when I go back home in the evening and I think „wow I made a lot of progress today” I’m obviously a millennial.
What motivates and inspires you?
Keeping working and curious observation, because it’s like throwing the net. I’m always on the lookout for some unique, magical mix of an image, thought and sensation that could become a material for an artwork. Inspiration gives motivation… but it works both ways.
Alright Magda, these last two questions I always ask at the end of the interview. The first is: What’s your favorite movie(s) and why?
I love lots of movies, but if I had to pick one, it would be Koyaanisquatsi from 1982. It’s the only film that I wanted to go back to so many times over the years. It’s like a meditation and it gives me different thoughts every time I watch it, not necessarily thoughts on the film.
The second is: What songs do you currently have in rotation?
I recently listen to some trippy music such as Shpongle when I paint. Ialso happen to go back to Westbam and King Crimson out of sentiment.