Ewelina Głowacz
I don’t carve wood.
I carve what I feel — and the wood responds.
My Story
My name is Ewelina, and I create one-of-a-kind wooden sculptures in southeastern Poland.
Growing up among forests and mountains shaped the way I see nature, materials, and form. Long before I discovered sculpture, I spent my childhood making things with my hands and exploring the natural world around me.
I discovered sculpture almost by accident.
The moment I began working with wood, I found a material that allowed me to express movement, tension, balance, and emotion in a way that felt deeply natural.
I never studied sculpture formally.
Everything I know came from years of working directly with wood, learning through mistakes, observation, dust, noise, patience, and repetition.
Today, every sculpture begins with a piece of wood and a conversation.
I don’t search for form. I search for the next movement.
Working with wood changed the way I see form
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.
I work intuitively, without sketches or predefined plans.
Each sculpture exists only once —
shaped through a physical conversation between material, instinct, and attention.
I never begin with a plan
I work directly with wood, without sketches or predefined forms.
The grain suggests direction. Resistance shows where to slow down.
Nothing is forced. Everything is discovered.
Listening to the wood
I don’t begin with a fixed idea.
I begin by looking, by turning the wood, by listening.
The grain suggests direction.
The resistance shows where to slow down.
Nothing is forced.
Everything is discovered.
Revealing the surface
This is not about finishing.
It is about revealing.
Wax does not cover the wood.
It allows it to come closer to light, to touch.
What was hidden becomes visible,
what was rough finds its balance.
When it becomes complete
There is no exact point when the sculpture is finished.
There is only a moment when it stops asking for more.
When the form feels quiet.
When nothing needs to be added or removed.
That is when I stop.
Most of the wood I use comes from trees that have already fallen, have been damaged by the elements, or have had to be removed for safety reasons.
Find the piece that speaks to you
Explore current sculptures or follow the carving process through film and movement.