ALICJA KOZŁOWSKA
| by Barbara Pavan |
In a world increasingly dominated by hyper-consumption and compulsive overproduction, we often find ourselves purchasing not the objects themselves but the packaging and the communication strategies that surround them. The content has become secondary, often even unknown. Take junk food, for example: we consume products of dubious nutritional quality, beautifully “dressed” and expertly marketed. Against this backdrop, Alicja Kozłowska invites us to rethink our relationship with the objects of daily life by transforming them into unique artworks. Through her practice, she provokes us to question what truly nourishes our bodies, minds, and spirits.
Her works confront the overwhelming consumerism that engulfs modern society, urging us to break free from indifference. She seeks to disturb the comfort zone of the viewer, pushing them from passive observation to active engagement. By employing her own unique textile techniques, she highlights the contradictions of contemporary life and our role in shaping a better future. Public awareness of the looming ecological disaster is growing, thanks in part to extensive media campaigns, but she cautions that awareness alone is not enough. Too often, she says, we justify irresponsible behavior as a necessity to meet our daily needs. While we may carry an inner sense of social responsibility, the relentless rush of modern life and our pursuit of technological development – which promises ease and pleasure – often undermine our ability to act. Her art captures the confusion of everyday life, forcing us to notice the paradoxes that surround us. We discuss issues like plastic pollution in the oceans or melting glaciers, but how often do we truly notice the environmental realities in our immediate surroundings? Civilization has expanded to the point where the world has grown “small,” she observes, leaving us to tread on remnants of undeveloped nature. Even as we create National Parks to protect the environment, we paradoxically introduce waste into these same spaces, exemplifying humanity’s troubling disconnection from the natural world.
Her belief in the power of individual action underpins her work. Kozłowska strongly asserts that each of us has an impact on the direction of these changes and hopes her work will serve as an impulse to disrupt the comfort of anonymity and indifference. Sustainability lies at the heart of her practice, but for her, it is merely a starting point—a door that opens onto a longer path of change and the need to break free from apathy.
Textiles, her chosen medium, play a significant conceptual role in her work. Modern art, she reminds us, has long embraced the use of unconventional materials. From Picasso to Duchamp, artists have shown that anything can become art. For her, the use of fabric is not only an aesthetic choice but a way to soften the visual impact of her pieces and create a sensory connection with the viewer. Yet, she warns against interpreting this softness as comfort, noting that her works are far from “cuddly toys.” Her approach draws inspiration from Pop Art, particularly the work of Andy Warhol. She admires Warhol’s ability to distill complex cultural and technological ideas into minimalist works, describing his art as elegant, simple, and direct. Like Warhol, she explores the relationship between handicraft and mass production, art and everyday commodities. Painting by sewing, for her, is a way to address the culturally constructed indifference of our times.
Her artistic practice also embodies a fascinating tension between opposites: the slow, painstaking process of handcrafting in an era defined by speed, ephemerality, and virtual experiences. Kozłowska likens her work to the contrast between fast food and an exquisite restaurant, where we nourish not only the body but also the soul. By dedicating time and care to her craft, she reclaims the value of manual skill in a world that often prioritizes immediacy over substance.
Performance is another critical dimension of her practice. She often integrates her work into public spaces, such as supermarkets or urban environments, catching audiences off guard and provoking reflection. Her choice of venues reflects the themes of her art, and the public’s reactions vary depending on cultural context. Inhabitants of highly developed countries often respond spontaneously, though this does not necessarily mean they fully grasp her message. Younger audiences tend to engage with the ideas behind her works, while older viewers focus on the craftsmanship and details of her technique.
Her connection to textiles is also deeply personal, rooted in memory. She learned to sew and crochet as a child under the guidance of her grandmother, who introduced her to traditional techniques. Over time, through practice and exposure to global textile traditions during her travels, she refined her skills and developed her own approach. This connection to the past is woven into her works, infusing them with layers of meaning and cultural resonance.
Irony is another subtle thread running through her art. Quoting Eric Fischl, she remarks, “There’s nothing insincere about irony.” While her works carry serious messages, they often incorporate playful elements that challenge the viewer’s expectations. In her view, Pop Art as a whole could be considered ironic, and she embraces this complexity in her own practice.
Her works are small in scale but reveal a mastery of technique and materials. She combines a variety of elements, from sewing and embroidery to the use of unconventional materials like labels, newspapers, foils, and fabrics. Using a needle as a painter uses a brush, she creates intricate, three-dimensional sculptures that transform everyday objects into works of art. For those who dismiss textile art as mere craft or a feminine pastime, she has a simple response: gender doesn’t matter. “Art is a broad concept, and creativity should not be confined by classifications or definitions,” she says. Her advice to aspiring artists is equally direct: experiment freely, forget trends, and simply start creating. Quoting Warhol, she adds, “I just do art because I’m ugly and there’s nothing else for me to do.”
Through her practice, she demonstrates that textiles are not merely a medium but a powerful tool for social commentary and cultural critique. In a world facing ecological and existential crises, her art serves as both a call to action and a reminder of the enduring value of time, memory, and human connection.
Short biography
Alicja Kozłowska is an award-winning artist and designer based in Poland, recognized for her innovative approach to textile art and embroidery. With a strong foundation in design, she holds a diploma in Graphic Design from the Wojciech Gerson State High School of Fine Arts in Warsaw and a degree in Domestic Design from the School of Form University, also in Warsaw. These academic achievements laid the foundation for her distinctive style, which seamlessly blends traditional craftsmanship with contemporary artistic expression. Her works have been exhibited in prestigious galleries and museums across Europe and the United States, including “The LAM Museum” (Lisse, Netherlands), the Danubiana Meulensteen Art Museum (Bratislava, Slovakia), MOCAK (Cracow, Poland), Gallery1988 (Los Angeles, USA), Unit London (England), Palazzo Velli (Rome, Italy), MuRTAC Museo del Ricamo e del Tessile Antico e Contemporaneo, (Valtopina, Italy). In 2021, Alicja’s work was recognized and awarded by the prestigious “Hand & Lock Prize for Embroidery.” In 2022, she received the “Stypendium Ministra,” a ministerial scholarship for outstanding achievements in the arts. In 2024, she was selected to represent Poland in the “Homo Faber Fellowship” program organized by the Michelangelo Foundation. Her work has been featured in numerous prominent publications, including Designboom, Colossal, Textileartist, Elle Decoration, and many others, underscoring her significant impact on the global art and design community.
