Interview: Malgosia Stepnik

Malgosia Stepnik’s The World We Live In adorns the wall next to our cinema entrance, inviting observing guests to get a closer look. The seemingly abstract piece bleeds circular shapes and colours in hypnotic manners, a contemplation of interconnectivity between ‘outer’ and ‘inner’ worlds. It is reflecting the artist’s understanding of our reality. 

The World We Live In, 2018, Malgosia Stepnik. Photography by Beth Davis

Upon the installation of her new piece Sea of Life, on view until the end of September 2024, Malgosia sits down with curator Alexa Munemann to discuss the philosophy in her practice, working with local artisans to produce limited prints, and giving a glimpse into the upcoming dinner Malgosia will be hosting for Shoreditch Arts Club members on September 26th 2024. 

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AM: I’ve had the pleasure of working with Malgosia Stepnik as a curator ever since I placed her outstanding illuminated work “Star Woman” in the first “Light is Life” exhibition. As a contemporary artist she exemplifies a dedication to her craft, and an ever increasing exploration into the visual expression of her considered philosophy. 

Malgosia, wonderful to speak to you. I thought we could kick things off by diving into The World We Live In, which is on view at the club and the subject of your limited edition prints we’ll be offering to Shoreditch Arts Club members at the upcoming Meet the Artist dinner. Could you elaborate on this work and what it means to you?

MS: The World We Live In is one of my most complex paintings, both in its visual presentation, as well as its symbolic language. Firstly, it’s one of the very few circular artworks I have ever made. Visually I have juxtaposed my signature style of carefully applying circles with more organic figurative elements. The subtle image of the squirrel looking at its reflection carries my interpretation of the Jungian analysis. The shadows represent the looming connotations of humanity. Our planet, which hosts humanity, is a reflection of our intentions – the good and the bad. We are the richness of love, creativity and growth while equally of the destruction of oneself, others and our surroundings. It is all about connectivity.  The predominant colours chosen draw attention to these contrasting sentiments of our humanity: love and danger, darkness and power, innocence and carelessness.

You mention connectivity – I know this is a word and philosophy that greatly resonates with you on an energetic and artistic level. Could you share your perspective on ‘connection’?

Connection has been the subject of many books, research programmes, documentaries and so on. In my art practice I focus on the relationship humans have to themselves and how that influences our relationship with the outer world. Hence I explore Eastern philosophies, looking at the world perspective of Buddhism, neuroscience, the immense pressures and fragmentation of the world’s impact on a single human and our planet as a whole. 

My philosophy extends to my working environment. In 2013 I moved from London to the Cotswolds in order to focus on reconnection. Following Japanese philosophy, I reimagined my home to reflect outer and the inner worlds, where the exterior – the garden – and the interior – my studio – blend and interconnect.

Sea of Energy is the new illuminated work that the club is currently hosting, could you describe this series of works? Also the philosophical resonance of using electricity and light.

I was brought up absolutely loving the theatre and opera. It's an incredibly immersive experience where the viewer is taken into another world. Sitting in the dark auditorium I would watch the light elements bringing subjects on stage into focus in a way that is totally transformative. I felt the need to encapsulate that magic of light in my own work, illuminating it within the frame.

Photo (from left to right): Chila Burman, Malgosia Stepnik, Ellery Weil, Rebecca Moss, Alexis Zelda Stevens at The Power of Her panel at Shoreditch Arts Club

You are an avid collaborator of the club, having two of your works in the space as well as participating in the UNESCO International Women’s Day event, The Power of Her, earlier this year. Could you share a highlight from that event with our readers?

It was absolutely enthralling to connect with the fellow artists Chila Burman, Rebecca Moss and Alexis Zelda Stevens, and audiences of different backgrounds and points of view. Especially women who have been almost entirely omitted in the history of art. I shared a film from “Are You Still Going to Love Me When You See Me Now”, a performance piece during which I was performing symbolic hair cutting on myself dressed in a hospital gown. Part of the project City of Angels began in 2010 where I explored women's place and the gender based societal limitations imposed on women throughout history. It was a brilliant experience and I am very grateful to have been a part of it.

To celebrate this ongoing relationship with Shoreditch Arts Club you are hosting a dinner for members on the 26th of September. Could you share what guests could expect? Having been to one of your beautifully crafted dinners, I can say it’s like living in one of your amazing art works and anyone who attends is in for a treat…

Thank you Alexa. Alongside creating and travelling, hosting suppers and charming conversations are a great pleasure in my life. I look forward to engaging with people who resonate with my art in an intimate setting. I will be happy to answer questions about my artistic practice, my journey and life as an artist. I imagine anyone choosing to join me will be an interesting person and I look forward to meeting them. The meal itself will be carefully chosen to align the specially designed table that I will create for the event, and I have a little surprise for each guest. I’m also very excited to be sharing a special limited edition print of The World We Live In to members of Shoreditch Arts Club who are able to attend the dinner.

When we’ve spoken before you’d mentioned the independent printer you’ve selected to work with to create these prints. Could you elaborate what drew you to work with him vs one of the big London printers?

I live in Cotswold, a very beautiful part of the country, I miraculously by word of mouth found David, who runs a specialty small boutique printer locally. I always support local businesses where possible and David is a bit of a genius at creating archival quality prints, his workshop is a wonderful chaotic jewel box, he is also a treat to work with!

Over the years I have worked with many large and small artisans, fabricators and framers in the UK and abroad (Italy) to help and assist me with my work. Working with David has ensured a very personal connection and high quality prints. I like to work hands-on where I have a personal connection with people who are truly passionate about their work.

We spoke quite a bit about which size to select to offer the club, you decided on 65cm. Why did you select this size and edition number?

Yes it was a big point of consideration. I believe in sharing art, that it should be for everyone. Prints allow people to engage and enjoy a work that would otherwise be inaccessible. I’m a perfectionist, any prints must be a perfect colour match on beautiful paper and archival quality, which obviously makes them relatively expensive. Keeping the size of the work smaller enables me to offer a more reasonable option for an early stage collector, it’s also easier to place as the original work is quite big! Keeping the edition number low allows for a greater sense of community and connection between my collectors.

Malgosia thank you for taking the time to answer my questions and sharing a small taster of what patrons can expect when they join you for dinner on the 26th of September. I personally can’t wait to see how you create the table! I view your special dinner parties as interactive installations, you always imbue a sense of the immersive mystical to the occasion.