Sylwia Wenska

The source of inspiration for my this series of paintings lies in the world of Italian quattrocento, encompassing both its form and profound philosophy. I've long held a fascination for the painters of the early Renaissance, drawn to the captivating frescoes of Luca Signorelli and Masaccio, the masterpieces crafted by Botticelli, and the works of Piero di Cosimo. These fifteenth-century representations of Adam and Eve, and the paradisiacal landscape, are inextricably entwined with the themes of sin, punishment, and the ultimate judgment. They exude emotion brim with emotional depth - and it's this very essence that I sought to convey through my work.
Central to this series is the character of Eve. Much like the biblical tale, Adam remains a passive figure in my narrative. His presence in my paintings is distilled into a symbol - the vivid hue of red. In the ancient Hebrew language, "Adam" signifies red, drawing from the earth's color, from which the Creator shaped the first man.
I've chosen to portray my Eve through the likeness of Simonetta Vespucci, acclaimed as the most beautiful woman of her era. Her ascendancy as the timeless embodiment of beauty commenced at a knight's tournament in Santa Croce. Giuliano di Medici,who manifested his admiration for her beauty, by making an appearance with a penance on which Botticelli immortalized Simonetta's visage. At the tender age of 17, she became the wife of Marco Vespucci, a cousin of Amerigo Vespucci, who navigated to South America preceding Columbus. A clandestine romance unfurled between Simonetta and Medici, while Botticelli, too, was captivated by her - traces of her features echo in the majority of his paintings, whether conceived during her lifetime or posthumously. Simonetta's life was cut tragically short at the age of 22. It was Botticelli's wish to be buried beside his muse in the Ognissanti Church of Florence.
In my artistic representation, I show Simonetta as my embodiment of Eve, drawing from her portraiture by Piero di Cosimo. In tandem, the ethereal figures of Venus and Primavera by Botticelli epitomize Eve's essence. Rather than succumb to the constraints of a linear narrative, I deconstruct the tale of Adam and Eve into its components. Here, we find Satan as a corpulent serpent and the iconic symbol of original sin - the apple.
Not many people are aware that biblical scholars have engaged in spirited debate regarding whether the fruit that tempted Eve was, indeed, an apple. The apple earned its place in the Bible courtesy of Saint Jerome, who translated the initial Latin version. Deliberately or not, he substituted "malus," denoting apple, in place of "fructus," meaning fruit. The phonetic similarity to "malum," meaning evil, is unmistakable.
Throughout the ages, the biblical fruit has been reimagined as a pomegranate, orange, lemon, fig, and even a cluster of grapes. Some opt for the fig as the most logical choice, Adam and Eve resorted to fig leaves for their covering, as they were readily available. Another captivating theory, while unconventional, posits that the forbidden fruit wasn't a solid but a libation crafted from fruits - in essence, Adam and Eve were banished from Eden for inebriation!
Within my artwork, I've "sampled" depictions of the expulsion from paradise, drawing from Masaccio's celebrated fresco from Florence's Santa Maria del Carmine church, and the enchanting figures gracing Luca Signorelli's frescoes within the Orvieto Chapel. My palette is restrained to reds, navy, blues, blacks, and grays - hues reminiscent of religious murals, complemented by the opulence of Renaissance gold. I've woven in my cherished floral rosettes and ubiquitous, enigmatic "lily" tattoos. And within this canvas, narratives abound...

In biblical scriptures, Eve and her original sin serve as a portent, heralding the arrival of another woman destined to reshape the course of humanity. The intertwined stories of Eve and Mary, the mother of Jesus, form a poignant connection within the biblical tapestry. Much the same, I've chosen to conclude my painting series unconventionally, with a portrait of Mary.

This endeavor, executed within such a unique framework, has been an experiment of profound artistic exploration and a source of immense joy for me.

The 'Forester's Lodge' series is an extraordinary collection of paintings that depict various wild animals. This series is the result of a fusion of two distinct artistic directions in which the artist specializes: abstract and figurative painting. Each work in this series represents a captivating synthesis of these two styles.
The background of paintings in the 'Forester's Lodge' series features an abstract composition of browns, reds, and beiges. Against this abstract backdrop, each painting showcases one animal outlined in a vibrant, bright color. Notably, the artist has deliberately chosen not to incorporate the color green into her works.
This series is a testament to the artist's ability to seamlessly blend abstract and figurative elements, resulting in a visually striking and thought-provoking exploration of the natural world. Each piece invites viewers to contemplate the harmonious coexistence of these artistic approaches while celebrating the beauty and diversity of wild creatures.

Entomophobia, in the realm of art, can be likened to a haunting dreamscape where the smallest of creatures transform into monstrous specters.
In this artistic representation, the fear of insects transcends the rational and takes on surreal dimensions. The buzzing of wings and the scuttling of legs become a cacophonous symphony. The world, as perceived through the eyes of someone with entomophobia, distorts into an unreal realm.
Yet, within this unsettling dreamscape, there's an opportunity for empathy and understanding. The painting can serve as a bridge between the phobic experience and the viewer, inviting contemplation of the profound and sometimes irrational fears that can haunt the human psyche.