“There is concrete poetry, there is free verse and multi-volume prose. Agnieszka Paluch’s works cannot be read with one glance at the painting. They not only depict internal situations, but also describe events and internal states in the language of colorful associations. 

Some of Agnieszka Paluch’s paintings are “dark”, and yet this darkness is neither final nor all-encompassing; it is not a content in itself, but rather a source of warmth – the same warmth that we feel at Christmas, when there is anticipation and hope that time will not end. Likewise, the narrative of her painting is open, casting light on things much more complicated than contemporary painting itself. 

In her works, she is strongly focused on color, hue, on their value – both visual and semantic. However, it is not about the brush movements, which was the case in Jackson Pollock’s “spots” expressing the features of the era of “the airplane, the atom bomb, the radio.” Paluch doesn’t need the canvas to give vent to her feelings; instead, she treats it as a field of experiments where she doesn’t just leave traces but shares her experience. 

Is Paluch’s art about abstraction? More than about the genre, it shows the clash of the human with abstraction, which does not occupy the central place in the narrative, but instead tells us something about the surrounding reality and the presence of a higher being in it. Vast expanses filled with abstraction are often the background of more complex means of expression – abstraction is present on her canvases permanently, but not exclusively. In her work, the background of a genre scene may appear abstract, the surroundings of everyday objects may look abstract, or even the contours of everyday objects, all of which will not be remembered when someone comes to the end of their life, wanting to reflect only on what was most important. Agnieszka’s abstraction can even be a compositional part of collages, where it appears alongside photos of real human figures, yet without coming to the fore. The artist often reaches for some rhetorical devices known since the Renaissance, where a human figure may turn their face straight towards the viewer, as if offering to guide us through this complex scene, taken from a real experience whose afterimages are recorded as abstract components. 

The “shortcomings” of the brush should not lead us astray; a number of works reveal a reflection on the technique, composition, proportion, not only color. Agnieszka Paluch shows the artistic process, constantly developed and diversified technique, which appears as rungs on the ladder of questions and thoughts leading towards the absolute”.