EWA CWIKLA

• 2025 – Art Capital – group exhibition – France
• 2024 – Bator Art Gallery – Sopot – Poland
• 2024 – EMI Art Gallery – Warszawa – Poland
• 2024 – Kunsthuis Westerland – group exhibition – Netherlands
• 2023 – Consulate General of the Republic of Poland – Netherlands
• 2023 – Art Capital – Paris – group exhibition – France
• 2023 – Bator Art Gallery – Szczyrk – Poland
• 2023 – Mick Art Collection Gallery – Emmen – group exhibition – Netherlands
• 2022 – Vinci Art Gallery – Poznań – Poland
• 2021 – BBA Gallery – Berlin – group exhibition – Germany
• 2021 – Centrum Praskie Koneser – group exhibition – Poland
• 2021 – Bator Art Gallery – Szczyrk – group exhibition – Poland
• 2021 – Wilma Geerts Gallery – Dordrecht – Netherlands
• 2019 – Gallery Bakenes – Haarlem – Netherlands
• 2019 – Fundazione Luciana Matalon Gallery – Milan – group exhibition – Italy
• 2019 – Bator Art Gallery – Szczyrk – Poland
• 2019 – Ton Gallery – Rucphen – Netherlands
• 2019 – Gallery Joseph Turenne – Paris – group exhibition – France
• 2019 – Zofia Weiss Gallery – Krakow – Poland
• 2019 – Gallery Ewa Helena – Hamburg – Germany
• 2018 – Siena Awards Festival – group exhibition – Italy
• 2017 – Somerset House – London – group exhibition – United Kingdom

Photography is, on one hand, capturing a moment – and on the other, interpreting it. What kinds of emotions or stories feel the most personal to you when working on a portrait?

I want to show beauty and authenticity – not just physical, but emotional as well. I’m drawn to moments of focus, contemplation, inner strength, and sometimes nostalgia or that hint of darkness that lingers a bit longer. My photos often carry a sense of mystery and depth. I believe that in subtle gestures and glances lies an entire story about a person.

Your photos have a very painterly quality – the light, the composition, the atmosphere. How do you achieve that effect?

Light is my main tool. I draw inspiration from classical painting – from the way Rembrandt or Vermeer used chiaroscuro. That’s where I learn how to create intimacy and depth. I often work with natural light or very soft studio lighting to achieve subtle tonal transitions. Post-production plays a big role for me – but not for “beautifying.” It’s more about enhancing the atmosphere. Gently emphasizing colors, skin texture – so the photo resembles a painting.

You mostly photograph people. What is essential to you in that relationship with the person on the other side of the lens?

The most important thing is trust and authenticity. I’m not interested in forced poses or professional models. I want the person in front of the lens to feel at ease—to show themselves in a way they might have never seen before. For me, the most beautiful moment is when someone sees something in my photograph they hadn’t noticed in themselves until then.

Does it ever happen that someone surprises you during a shoot? Do you recall a situation when the session took an unexpected turn, but the result turned out to be exceptional?

Yes, and quite often! I remember a session with a young girl who was very shy at first, almost withdrawn. At one point, I suggested she simply close her eyes and listen to herself. When she opened them, something had shifted — her gaze was different, as if she had suddenly found a new strength within. It was a magical moment, something you can’t plan. What’s more, she’s now my favorite model — we still work together to this day.

How does your creative process look? Do you have any rituals that help you get into the “artistic mode”?

Silence and calm are essential for me. Before a session, I often listen to music that reflects the mood I want to create. I also like to take a moment to talk with the model to understand them better. That way, during the shoot, I don’t feel like I’m just capturing an image – I’m creating a story.

Photography is not only about emotion, but also about craft. What tools and techniques are essential to your work?

Besides light, color and texture are very important to me. I use full-frame cameras and fast lenses, but I’m not attached to any specific gear – it’s just a tool. What really matters is how I see the light and how I guide the model to achieve the intended effect.

It’s often said that light is the heart of photography. How do you work with it, and what role does it play in your images?

Light paints the story. When used properly, it gives the photograph a sense of three-dimensionality, allowing the subject to gain depth. I love side lighting – it sculpts the face and adds drama – but I also appreciate soft, gentle light that subtly highlights features and creates a calm atmosphere.

Do you have favorite compositions or frames that you return to often? Or do you try to find something new every time?

I often instinctively place the model in classical, Renaissance-like arrangements – I enjoy symmetry and harmony. But more and more, I reach for less obvious, more dynamic compositions. I like to try new approaches, even if they feel a bit risky.

Are there any artists – not just photographers – who particularly inspire you?

Absolutely. I’m inspired by Baroque painters like Rembrandt, but also by contemporary female photographers who create emotional, painterly portraits. I also have a deep appreciation for the work of Paul Huf and Marlena Bielińska – their sensitivity resonates strongly with me.

Is there something you’ve always wanted to capture in your photographs, but haven’t yet had the opportunity to do so?

For some time now, I’ve been thinking about creating multi-generational portraits—images that show family relationships and the history written on people’s faces. There’s something deeply genuine and moving in that, and I’d love to explore it further.

How has your photography evolved over the years? When you look at your early work today – what do you see?

It has definitely changed. My early photos were more documentary; today they are more painterly, focused on emotions. There is more light, atmosphere, and intimacy in them.

How do you go about selecting photos after a shoot? Is it easy for you to choose that one, most important image?

It’s always a difficult moment! I often leave the photos for a few days so I can look at them with fresh eyes. Sometimes, the one that didn’t convince me at first ends up becoming my favorite.

Can artistic photography go hand in hand with commercial work? How do you maintain a balance between art and everyday work?

Yes, but it requires awareness. For me, it’s important not to abandon my own style, even in commercial projects. I look for clients who resonate with my aesthetic and give me the space to create.

How have the realities of working as a photographer changed in the era of social media?

Social media have changed the rules of the game – but I don’t think that’s a bad thing. They give us the opportunity to reach people all over the world. You just have to be careful not to lose yourself in the chase for algorithms and likes.

Many people say that a good photograph is one that can capture the soul. In your opinion, what makes an image truly moving?

Authenticity and light. When the person in front of the lens feels like themselves, and the light enhances their natural presence, the photograph gains emotional power.

Is there a photograph in your body of work that has been particularly important or groundbreaking for you?

Yes, a few portraits of women — including the girl with pillows on her head and the portrait of an elderly woman that won me my first award — were moments that gave me the courage to move forward.

What was the most challenging photo shoot you’ve ever done?

Definitely the one in an old, dark castle – the conditions were tough, the light was minimal, but the final result made it all worthwhile.

Your series “Gaugany” combines photography, painting, and experiments with form – with canvases intentionally damaged, torn, rubbed, stitched. Where does the need for such freedom come from? Is it a way to explore new emotions?

Absolutely. In my Gaugany, I can express myself across various art forms. It’s a space full of freedom and endless possibilities – I can experiment with techniques, styles, and form. I create unique works composed of my own photographs, frames that I combine into a new whole, telling a personal story. I try to convey the emotions and feelings I experienced while working on each of them. In the Gaugany – intentionally spelled with a “u” – you’ll find both abstract compositions and more realistic portraits drawn from my photographic work. Each Gaugan is one of a kind, reflecting my experiences and – I hope – leaving a lasting impression. What’s more, each one also features its own original method of hanging and presentation.

Finally – what would you say to people who want to start their journey with photography?

Look. Observe the light. Experiment. And don’t copy – find your own language. It’s a long road, but a beautiful one. And the most important thing? Don’t get cocky too soon, but also don’t let anyone put you in a box.

Thank you, Ewa, for the conversation! It was a real pleasure to discover with you how light and emotion can turn a portrait into something truly special. We hope this interview inspired you as much as it did us. If you’d like to see for yourself what we talked about – feel free to explore Ewa Cwikla’s gallery. Maybe one of her photographs will stay with you for a long time – and that’s the best proof that photography really can move us.