Born in 1984, lives and works in Warsaw. She studied Painting at the Academy of Fine Arts in Warsaw. In her artistic practice, she often refers to nature and architecture. She combines both of these fields in an effort to improve the quality of human life, constantly trying to make art useful. She is inspired by both vernacular architecture and the 20th-century classics as well as geological phenomena and vegetative processes. Przezwańska is the author of architectural interventions, installations, and paintings, where she often uses natural materials: rocks, minerals, and plants.
Katarzyna Przezwańska Untitled, 2018 encope grandis sea urchin armor, acrylic paint, cigarette, metal, marble 23 × 10 × 7 cm
Katarzyna Przezwańska Untitled, 2018 pyrite, acrylic 5 × 5 × 5 cm
Katarzyna Przezwańska Untitled, 2018 various bean seeds, lacquer, metal, wood 22 × 10 × 10 cm
Katarzyna Przezwańska Untitled, 2018 Beetle Elytra Sternocera Wings, coral fossil, metal, stone, wood + wooden cube 21 × 16 × 7 cm
Katarzyna Przezwańska Untitled, 2018 cassis cornuta shell, quail egg, car paint 30 × 25 × 23 cm
Katarzyna Przezwańska Untitled, 2018 Mammoth tooth fossil ( about 40 thousand years old ), gold plating, varnish, metal, wood + wooden cube 20 × 17,5 × 9 cm
Katarzyna Przezwańska Untitled, 2018 horns, car paint, serpentinite 51 × 9 × 9 cm
Katarzyna Przezwańska Untitled, 2018 ovula costellata shell, peanut pod, deer horns, car paint, metal wood 46 × 44 × 12 cm
Katarzyna Przezwańska Untitled, 2018 cypraecassis rufa shell, larch wood slices, car paint, metal, wood 64 × 43 × 16 cm
Katarzyna Przezwańska Untitled, 2017 ostrich eggs, lacquer, metal, wood 250 × 65 × 65 cm
Katarzyna Przezwańska Untitled, 2016 car paint, glaze lacquer, MDF 100 × 100 cm
Katarzyna Przezwańska Untitled, 2016 acrylic, glitter, polyurethane, MDF 100 × 100 cm
Katarzyna Przezwańska Untitled, 2015 polyurethane, chipboard National Museum, Warsaw Just a few hundred million years ago, Warsaw was covered in palm-like foliage. Certainly more impres- sive than the palm that stands at Rondo de Gaulle’a because it was actually real. Our capital was located closer to the equator, and where it wasn’t immersed in the sea it was overgrown by a tropical forest. The forest was inhabited by animals – even dinosaurs. In short, the capital of Poland was better o when Poland didn’t exist yet. This is a model of today’s Warsaw ter- rain from 200 mln years ago. There was a sub-tropi- cal climate in our latitude back then. This sandy and swampy area was a habitat forpinewood trees, woody ferns, cycadaceae, ginkgo, horsetail, and various kinds of ferns. A small Compsognathus dinosaur wanders between them, the dragon flies are flying, and in the sand you can see bigger dino- saurs’ traces. All the ele- ments of the model were designed and cut by hand by the artist. The work was awarded The ING Polish Art Foundation prize.
Katarzyna Przezwańska Playground, 2015 stones, steel, polyurethane Lublin, Poland Installation takes the form of a small, open-air sculpture park. Individual objects were made of cut boulders and painted metal tubes. Their shapes refer to the typical agility equipment for children, set on playgrounds, but also create a kind of intimate geological park. The artist uses a distinctive range of colors, which is a combination of colors of natu- ral vegetation and synthetic ranges used in modern architecture and design.
Katarzyna Przezwańska Untitled, 2015 polyurethane, chipboard National Museum, Warsaw The work was realized in a disused fountain in front of the National Museum in Warsaw. The artist cre- ated a surface with resin, imitating the color of wa- ter, symbolically restoring the abandoned function of the fountain.
Katarzyna Przezwańska Untitled, 2014 Polish parliament mockup Museum of Modern Art, Warsaw The artist noted the unfortunate colour scheme and the worn out floors and upholstery in the Conference Hall of the parliament of the Repub- lic of Poland. Przezwańska assumed that the state could not function efficiently if the venue for mak- ing crucial decisions is not conducive to a feeling of well-being. She decided to carry out consultations with members as a basis for arriving at a proposal for a new Conference Hall. Against the backdrop of other artists of her generation (referred to as ‘tired of reality’) Przezwańska’s work stands out by its faith in the effectiveness of art and in the real impact that colour has on how we function. The project has come to fruition in a model of the parliament, produced in collaboration with architects from the WWAA studio and artists Leszek and Maciej Jasiński.
Katarzyna Przezwańska Ornament, 2010 emulsion, conservation paint street view Zielona Góra, Poland Przezwańska has selected and painted architectural details on pre-war buildings in Zielona Góra. With the use of color those classical themes became more visible and have gained the meaning - suddenly there is lots of greenery, fruits, heads and abstract forms growing from those facades and changing the percep- tion of the architecture. This work also referres to the studies on polychromy of ancient Greek architecture and sculpture.