FINISHING THE ELIZABETH GREENSHIELDS FOUNDATION GRANT

I am approaching the end of my work under The Elizabeth Greenshields Foundation Grant, during which I created the painting series "The Sylvan Exaltation." It has been an incredibly intense and creative year, full of inspiring observations, artistic challenges, and reflections on the relationship between humans and nature.

BEGINNINGS AND INSPIRATIONS

The work on this series began with a desire to shift my perspective—after years of painting urban landscapes, I longed to immerse myself in the organic, unordered structures of nature. I was particularly fascinated by the forest: its rhythm, the light filtering through the leaves, and the pulsating life hidden within the dense trees. While painting, I aimed to capture not just the structure of the forest but also its atmosphere—the light piercing through the branches, the rhythm of the trees, and the misty depth of space.

Moving to the countryside inevitably heightened my sensitivity to the landscape. Every walk presented a challenge and demanded new artistic themes. Inspirations seemed to come on their own, persistently pressing into my subconscious as if they were shouting, "Paint me!" It was a time of creative tension—my eyes never stopped working, and my artistic mind continuously absorbed new impressions. Daily walks with my dogs, initially meant as moments of rest, turned into opportunities to collect new themes.

Creating this series became a form of shinrin-yoku for me—the Japanese practice of "forest bathing," which involves consciously immersing oneself in the forest and absorbing its atmosphere with all senses. Widely studied in psychology and medicine, shinrin-yoku reduces stress, lowers blood pressure, and enhances concentration. My paintings are thus a record of this experience—an attempt to convey the rhythm of the forest, its energy, and harmony.

The first spark of this series emerged in 2022 when I presented a single, newly expressive painting titled "Ulesienie" at the "Okna" exhibition at Galeria Tlen in Warsaw. This painting foreshadowed the series, marking a shift in my artistic thinking. A loyal client quickly noticed and reserved the painting.

However, I only returned to this theme now, in 2024 and 2025. The grant from The Elizabeth Greenshields Foundation, paid in dollars, provided me with financial stability for the entire year, allowing me to focus on exploring the potential of the forest theme. And so, one painting evolved into an entire series.

The first spark of this series emerged in 2022 when I presented a single, newly expressive painting titled "Ulesienie" at the "Okna" exhibition at Galeria Tlen in Warsaw. This painting foreshadowed the series, marking a shift in my artistic thinking. A loyal client quickly noticed and reserved the painting.

However, I only returned to this theme now, in 2024 and 2025.The grant from The Elizabeth Greenshields Foundation, paid in dollars, provided me with financial stability for the entire year, allowing me to focus on exploring the potential of the forest theme. And so, one painting evolved into an entire series.

"Sylvan ExaItation I", 110 x 150 cm, oil on canvas, 2022.

TITLE

The title "Sylvan Exaltation" encapsulates two intertwined themes: the forest ("sylvan") and the experience of upliftment ("exaltation"). This series explores both aspects—where the forest landscape becomes a gateway to spiritual elevation. The title carries a poetic quality, evoking a sense of mystery and enchantment. At the same time, the paintings may hold an undertone of unease—perhaps in the depth of shadow or the starkness of branch patterns, lending them a certain ambiguity.

THEMES

The series comprises twelve paintings, including the large-format "Sylvan Exaltation." Many works in this series depict the forest framed by window panes, an essential compositional element in my art. The dark window frames create contrast, highlighting the light within the forest and bringing out details of the leaves and branches.

I was particularly inspired by the beech forest—young beeches that retain their dry, rusty-orange leaves throughout winter, glowing in the sunlight. This phenomenon is captured in my paintings "The Beech I" and "The Beech II."

"Beech I", 105 x 150 cm, oil on canvas, 2024.

The series also includes more intimate pieces—two small paintings: "Maple Leaf" and "Maple Sead", which focus on details, textures, and microstructures. Additionally, I created two studies of ferns: "Tajemnice Paproci" (Secrets of the Ferns), depicting one of the oldest plant species on Earth, rich in symbolism and deeply embedded in folk culture.

A painting that closely relates to the original "Sylvan Exaltation" is "Emergence", sharing a similar composition and dynamic.

FORM

Painting tangled branches and intricate lines slightly pushes against my aesthetic preferences—it feels like horror vacui. However, I constantly strive for amor vacui or at least a sense of order and rhythm in my compositions. Even in the forest, I attempt to create structure. In "Sylvan Exaltation II," I arrange trees in rows, and large areas of black, like in "Emergence" act as substitutes for emptiness. The subdued darkness balances the dynamic, multi-directional drawing of branches.

I have also developed a love for central composition. In "Beech I," a strong focal point in the center anchors the painting, bringing a sense of calm and balance.

On one hand, this series is an exploration of lightness, softness, and organic shapes. On the other, it remains an expression of my sensitivity—constantly striving for harmony.

Framing some compositions within window panes reflects my need to create a sense of intimacy. It allows me to present the landscape in a contained, tender, and close-up way—rather than in an overwhelming, vast perspective. Without pathos, without grandeur.

These compositions undeniably reference Japanese Zen gardens, reminiscent of the Adachi Museum of Art, where gallery windows frame the garden as living paintings. These gardens, with their precision and balance, were a special inspiration for me. Their deliberate ambiguity, asymmetry, and interplay between emptiness and form provided a reference point for my work.

One particularly meaningful painting for me is "The Light on the Edge of the World"—symbolic in title, minimalist in execution. A window frame, a green field, the sky. A few reflections on the glass and that warm light on the horizon. It is a painting that dares to embrace simplicity.

"The Light on the Edge of the World", 130 x 150 cm, oil on canvas, 2025.

CONCLUSION AND FUTURE PLANS

This year has been extraordinary and artistically fruitful for me. Working on the "The Sylvan Exaltation" series allowed me to explore the balance between structure and the freedom of organic forms. I am grateful to The Elizabeth Greenshields Foundation for enabling me to dedicate this time primarily to painting. I am delighted that I could fully immerse myself in this project, and I can assure you that more forests are already emerging!

After all, every new series carries a degree of risk—the risk of testing the limits of my skills, creativity, and habits. However, this boundary-pushing is essential for my growth, allowing me to return to previous themes with renewed energy.

During the creation of "The Sylvan Exaltation", I also revisited older series, painting individual urban landscapes, which provided me with moments of rest. Familiar processes grounded me, allowing my eyes to relax and my mind to reset. These paintings, too, will gradually be revealed!

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Agnieszka Wielewska wish to thanks The Elizabeth Greenshields Foundation for its finansial support.💚

Finishing The Elizabeth Greenshields Foundation Grant

AGNIESZKA WIELEWSKA

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