My name is Ewelina, and I create one-of-a-kind wooden sculptures in my small studio in southeastern Poland.
My background is in interior design. Since 2008, I have run my own business, designing and styling interiors with a particular focus on window treatments and textiles.
For years, I worked with proportion, material, light, and the way an object can change the feeling of a space.
In 2020, I discovered working with wood almost by accident.
Something changed.
For the first time, I was working with a material I could not fully define in advance. Beneath the surface were grain, resistance, unexpected structures, and traces of a life that existed long before I touched it.
I began to work differently — without knowing the final form, making one decision at a time and allowing each decision to reveal what should happen next.
I have worked with wood continuously ever since.
I never studied sculpture formally. Everything I know came through working directly with the material — through observation, mistakes, repetition, resistance, dust, noise, and time.
I create contemporary wood sculptures intuitively, without sketches or predefined plans.
I never studied sculpture formally.
Everything I know came through working directly with wood —through repetition, mistakes, resistance, dust, noise, and time.
Over the years, I learned to understand how different woods behave, where they resist, where they open, and how light begins to move across a surface as the form slowly emerges.
Each sculpture exists only once —shaped through a physical conversation between material, instinct, and attention.
I never begin with a plan
I don’t know the final form when I begin.
Each movement changes what becomes possible next.
A cut cannot be undone. A curve can reveal another direction. Something hidden inside the wood can change everything that follows.
I work mainly with European walnut, apple, pear, cherry, oak, and maple.
Most of the wood I use comes from trees that have already fallen, been damaged by storms, reached the end of their natural life, or had to be removed for safety reasons.
Some pieces have spent decades growing before they reach my studio. Their grain, colour, cracks, scars, and irregularities carry traces of that time.
I don’t try to erase this history. I allow it to remain part of the sculpture.
What might once have seemed like a piece of wood with no further purpose can begin another life in a different form.
Where my works live
Every work begins in my small studio in southeastern Poland.
From here, it travels into a different space, a different light, and another person’s life.
Works have found homes in 174 cities across 24 countries.
