TATIANA WOLSKA | DRAWING NOW 2025
Irène Laub Gallery is pleased to announce its participation at Drawing Now 2025 with works by Guðný Rósa Ingimarsdóttir, Marija Rinkevičiūtė, Bernard Villers and Tatiana Wolska.
Tatiana Wolska (1977) graduated from Villa Arson in Nice (FR). She won the “Grand Prix du Salon de Montrouge” in 2014 and was invited by the Pierre Bergé Foundation for a solo show at Palais de Tokyo in Paris (FR). Since then, her work has been regularly shown by international institutions, including Frac Corse in Corte (FR) and Frac PACA (FR) in 2016, Villa Empain in Brussels (BE) and Arsenal Gallery in Poznan (PL) in 2018, Frac Centre-Val de Loire in Orléans (FR) in 2019 and Villa Datris in Paris (FR) in 2020. Her work was recently shown in a retrospective exhibition at the castle of Chamarande in Essonne (FR), as well as Sculpture in the City and Frieze Sculpture, both in London (UK).
A solo-show was recently dedicated to her at the Midlands Arts Centre in Birmingham (UK). She also took part in the collective exhibition Rebel Garden as part of the Brugges Triënnale (BE), and in the outdoor sculpture exhibition ARBOS in Lustwarande, Tilburg (NL). In 2025, her work will be shown in a solo show at the Drawing Lab in Paris.
Tatiana Wolska (1977) a débuté sa carrière artistique à la Villa Arson de Nice. Lauréate du Grand Prix du Salon de Montrouge, elle est invitée par la Fondation Pierre Bergé pour une exposition personnelle au Palais de Tokyo en 2014. Depuis lors, son travail est régulièrement montré par des institutions internationales, notamment le Frac Corse et le Frac PACA (FR) en 2016, la Villa Empain à Bruxelles (FR) et l’Arsenal à Poznan (PL) en 2018, la Villa Datris à Paris (FR) en 2020, le château de Chamarande (FR) ou le projet Sculpture in the City à Londres (UK) en 2021.
En 2024,un solo show lui est consacré au Midlands Arts Centre à Birmingham (UK). Elle fera également partie de l’exposition collective Rebel Garden à l’occasion de la Triennale de Bruges (BE), et de l’exposition de sculptures ARBOS à Lustwarande, Tilburg (NL). En 2025, un solo show lui sera consacré au Drawing Lab à Paris.
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To enquire about “Untitled” from TATIANA WOLSKA, please provide your contact information.
To enquire about “Untitled” from TATIANA WOLSKA, please provide your contact information.
To enquire about “Untitled” from TATIANA WOLSKA, please provide your contact information.
To enquire about “Untitled” from TATIANA WOLSKA, please provide your contact information.
To enquire about “Untitled” from TATIANA WOLSKA, please provide your contact information.
To enquire about “Untitled” from TATIANA WOLSKA, please provide your contact information.
To enquire about “Untitled” from TATIANA WOLSKA, please provide your contact information.
To enquire about “Untitled” from TATIANA WOLSKA, please provide your contact information.
Tatiana Wolska’s multidisciplinary practice is characterized by organic growth and the proliferation of forms. Her drawings and sculptures, intimately linked in a constant dialogue, bear witness to a research on the sinuosity of curves, the emergence of organic elements and the hybridization of objects. Plastic bottles, nails, recycled wood, furniture elements become foundations for growth and amplification. Through an economy of means and the simplicity of gesture, Wolska brings out the inherent poetic qualities of these recycled materials. Her installations are Promethean and spectacular works that stand out as monuments of archaic beauty.
Tatiana Wolska développe une pratique multidisciplinaire caractérisée par la croissance organique et la prolifération des formes. Elle met volontiers à distance le minimalisme des formes au profit d’une recherche sur les sinuosités des courbes, sur la survenue de l’organique, l’hybridation de l’objet. Bouteilles de plastique, rebuts de bois, éléments de meubles sont autant de substances matricielles au service d’un mouvement d’amplification et de croissance. Ses œuvres-monde, prométhéennes et spectaculaires s’imposent comme des monuments à la beauté archaïque.
Ses dessins, dans lesquels elle explore les frontières de l’abstraction, de l’invisible et de l’intériorité, comportent une dimension organique qui renvoie au vivant, tant dans la forme que dans le geste de la main.