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 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.
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 make one decision at a time.
If I already knew what the sculpture would become, there would be nothing left for me to discover.
Not knowing is not a lack of direction. It is the reason I keep working.
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.
The Wood Before the Sculpture
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.
174 cities · 24 countries
Continue the discovery
Explore current sculptures or follow the carving process through film and movement.
