Paulina Michnowska was born in Poland in 1984. She studied in Rome at the Accademia di Belle Arti and completed an MfA at Slade School of Fine Arts, London. She currently lives and works in London.
A selection of group and solo exhibitions include: Show Home, London; Mate, Soho Revue Gallery, London (2016); Wasters, Edel Assanti, London; Rough Music, CASS Sculpture Foundation, Goodwood; I’MTen, IMT Gallery, London; News Of The World Gallery, London; Urban Tales #1, The Bank, London; Show Off, LeandaKateLouise, London; Head to Head, Standpoint Gallery, London; Now, if one returns to melancholy, FoodFace, London; At Home, E81PD, London; Painting Parade, LeandaKateLouise, London; Solo Projects Basel, George & Jørgen, Basel; Loopart13, London; Copy, Paper Gallery, Manchester (2013); Lost in Space Forever, George & Jørgen, London; Assemble, The Liquid Courage Gallery, Bahamas; Photomobile, Convento de Santa Clara, Spain; Adapters, El Posito de Belalcazar, Spain; A Wall is a Surface, Londonewcastle, London (2012); The Threadneedle Prize, Mall Galleries, London; GIC Biennale, Korean Ceramic Foundation; Led To Alter, Wilton Way Studios, London (2011); New Contemporary Art, George & Jørgen, London; Wall painting commission for Hogarth Worldwide, London; Different Light Here, Le Garage, London; Project 1, LeandaKateLouise, London; Hell in a Handcart, Opposite 48 Hoxton Square, London; Istanbul was Constantinople, Hush Gallery, Istanbul (2010).
Paulina Michnowska employs a range of media that includes film, painting, ceramics and collage work. Her primary interest lies in the process itself, where she can physically explore different materials and their singular characteristics. Using an assortment of collected imagery from books, photographs, newspaper cuttings and ancient sculptural artefacts, she selects, edits, and melds the materials into a language of her own. There is an anarchic, rebellious visual energy that surges violently between grotesque and the delicate. Her recent works are perhaps a reaction against the beginnings of her artistic training at Plastyk Academy (Poland), where in the town of Kielce she worked three days a week for five years, painstakingly copying old master paintings in meticulous detail.