Artist Interviews 2025

Marta Witkiewicz  
By Julia Siedenburg



Marta Witkiewicz invites us into a world where dreams take form and magic lingers in every shadow. Working with a delicate blend of classical drawing and painting, she merges realism with imagination, weaving fantastical stories that connect women, animals, and the strong forces of nature. Even though not all of her pieces are colorful, they have a magical glow to them —each line filled with mystery and wonder. Through her creations, Marta reminds us that beauty and magic still dwell just beyond the veil of the everyday. Marta’s work carries a timeless enchantment—each piece a beautiful spell. Her work and her writing definitely bewitched me and I hope it does the same to you, dear reader.



Why does art play such an important role in society?

Whether taking the form of painting, music, dance or sculpture, art is a way of telling stories, something that connects us globally on emotional, cultural and intellectual levels throughout the history of humankind. It reflects who we are, not only as individuals but as a whole society. Art has this unique power of capturing our deepest feelings and experiences that are often difficult to put into words. It can touch our souls in ways we can’t always explain and yet we understand it instinctively because those feelings are both personal and universal, resonating beyond languages and cultures.

There are days when it feels like everything is falling apart and dark clouds seem endless. In those moments, when life gets hard, art becomes more than just expression, it becomes a beacon of hope, the very essence of creation counteracting forces of destruction. It is something we as artists hold quite literally in our hands and minds, the ability to create something from nothing, to give life to what was only a fleeting thought a moment before and watch it unfolding into infinite possibilities. This is my favorite kind of Magic.

I also believe that creativity in art encourages creative thinking everywhere else. Artists are visionaries, we’re always pushing boundaries, breaking norms, imagining what doesn’t exist yet. That mindset can inspire people working in other fields as well like science, technology or design. Everything starts with an idea, and I feel that art is often where those ideas and visions first begin to take shape. Making art in our studios day by day might feel quite lonely, I feel like that sometimes, but the truth is that art doesn’t live in isolation. It creates ripples that keep expanding, resonating, inspiring others around. It’s like a conversation, being part of this timeless dialogue between artists across centuries.



What/Who inspires you most in life?

What inspires me most are Dreamers Doers, people who not only imagine but dare to create and are willing to put in the necessary effort to pursue their dreams and visions, whatever it takes. I have a particular love for handmade creations, I can lose myself for hours in museums obsessing over paintings of Old Masters or exhibitions featuring intricate woodworking or embroidery. There’s something in handmade work that strikes the deepest chords in my soul. It resonates with me in a way that few other things do. When vision and craftsmanship come together it feels like witnessing pure magic brought to life. That devotion, patience and passion embedded in each stroke or stitch is the same energy that drives me in my own artistic practice. Every piece I create is my way of joining that timeless dialogue with makers and doers not only in the current times but across centuries.

I’m also inspired by people who don’t settle for easy and fast, for whom the instant reward is the last they are looking for. Those in love with the journey and the process itself. I absolutely love people who are obsessed about something in life and seem like they have this endless source of energy, enthusiasm, motivation, and fire that comes from within.



How would you describe your artistic style?

I think that artistic style is something that keeps moving, shifting, forming and growing with the artist, never fully determined. You’ve caught me in the moment of transitioning to a new medium, which naturally influences how I work. In simple terms I’d say I use classical drawing and painting techniques grounded in realism as a way to bring my imaginative ideas to life. My work blends observation from life with imagination supported by references I make, whether photographs or handmade props, and a spark of Magic, of course:)

I don’t aim to document reality as it is, nor create fantasy worlds disconnected from our times, instead I weave realism with personal symbolism, exploring inner landscape, through a touch of the surreal and the dreamy. I don’t paint imaginative worlds as escape but rather as evidence of living here and now, seeking understanding, perhaps belonging. I see my current style as a bridge between my darker, more monochrome past and my growing fascination with color, light, and storytelling.



On Instagram, you call yourself a Traditional Artist who is transitioning from pencil to oil work. What influenced that decision, and what would you say are the pros and cons of working with oils and pencil?

To be honest, I’ve always imagined my works in color. Pencils simply became the medium I felt most comfortable and familiar with, and I used them as a tool to bring my ideas to life. I’ll always feel affinity for graphite as it was accompanying me from the very beginning witnessing my first shaky lines, uneven tones and awkward drawings. I suppose most of us start with pencils, they are accessible and simple, you don't need anything else apart from a piece of paper to begin the journey.

I was truly fortunate that a few galleries from the USA and Australia took an interest in my pencil works early on and kept inviting me for shows. Few years passed by, much faster than I imagined, until eventually the call from the painting and color became too strong to ignore. I decided to take a break from gallery shows and devoted myself entirely to learning how to paint. It was a scary decision, I practically disappeared for over two years and part of me was experiencing the sting of FOMO. But deep down I knew well what my soul wanted. This transition from pencils, which gave me so much control, to oils, which challenge me to let go at every step, hasn’t been easy, but I feel it’s the best decision I’ve made. Feels like coming home, becoming the artist I’ve always wanted to be. After all, the sky in my world was never gray.



Please give us a glimpse into your process. How long does it take from the idea for the image to the finished piece?

Everything begins with the idea. There is a special field in my inscape where seeds of potential ideas are regularly planted. Some don’t make it to see the sun, some wait patiently under the ground for their moment, and others grow so fast they need to be harvested asap otherwise would haunt me! I explore and try out different compositions in the form of small thumbnails, the smaller the better. If something looks good on a small scale from a distance it will look great on a bigger scale. I try to resolve as many problems as I can in those early stages. Once the potential composition is chosen it’s time to evaluate what type of references I would need to bring my vision to life. Each project demands different preparation. Usually, it’s a mix of photographs which I take myself (you can check out references I make for artists at martawitkiewicz.gumroad.com), maquettes or handmade props that I’ve started to build, and digital edition in Photoshop - not my strength, but enough to frankenstein pieces together. Then I start with a detailed line drawing which later I transfer to the surface. Before painting I often make a little color study that will serve as a guide for exact colors I will use. After that I just paint my days away, many, many, many hours going through a few layers of paint. For drawing the process is similar, only bit faster as it doesn’t require mixing colors or waiting for layers to dry.

I studied in classical atelier and I believe this style of education is limited, it focuses on copying as accurately as possible what’s in front of you, whether it’s cast, human figure or a still life. But how to capture something that doesn’t exist? Ideas growing in the fields of imagination are demanding. After learning the foundations of technique, I still had a lot to learn. Copying from life is just the first layer. I’ve learned a lot about approaching imaginative work from Steve Chmilar, who is not only an incredible painter (you should definitely check out his work!), and a good friend but he also became a mentor that I didn’t expect to find. He showed me how important it is to take time for solid preproduction when creating invented, imaginative work.



I am in love with your beautiful and slightly haunting imagery. Each piece is so magical, so incredibly detailed. Who are these women and why do you mostly show them in connection with animals?

First of all, thank you very much! I’m really happy that this haunting spark of magic carries through in my works. Most of the pencil artwork you mention was created between 2019 and 2022. For me they belong to a very particular chapter of my journey. You caught me in the midst of stepping into new one. I was raised in a line of strong, hardworking women, women with callused hands, resilience in their bones and this quiet determination in the eyes. Through those drawings I wanted to transmit that strength but translate it into more magical language that was always part of my imagery. Animals and nature have been part of my environment, inseparable from daily life, folklore and tradition. We lived by the rhythm of the seasons, the forest, the fields and the animals within them were always close. Connecting women with animals was a way of showing that unity of human strength and natural spirit.



Please tell us a bit about your upbringing and background.

I grew up in Polish countryside surrounded by forest, animals, and vast fields. That scenery ingrained in me a deep love and respect for the natural world as well as Slavic customs, traditions and work of hands. Without access to many goods, between the chores, I’ve been spending time creating characters from scratch using materials at hand like scraps of fabrics, sticks or feathers and living my own invented stories. This strong desire to be able to create everything I imagine was much stronger than the voices around telling me which path I should fallow. So, I left my country in search of knowledge, techniques, and tools I needed to bring those dreams into reality.

During the time of classical atelier education in Canada and Spain, focused mostly on strict academic approaches, my heart was divided between the beauty and discipline of fine art, the techniques of Old Masters and the boundless imagination of magical realism and illustration. In my personal work, I strive to build bridges between those worlds, using the foundations I’ve learned and the power of storytelling to create imaginative works. I want to grasp and spread that spark which makes people dream, wonder, and believe that anything is possible.



A lot of your pencil work shows female subjects together with animals. What made you want to include animals in your images?

In my childhood animals have always been part of my environment. Their presence was intertwined with daily life, almost inseparable from the rhythm of the household. I never saw them merely as pets or background figures, but as characters with personalities inhabiting both my reality and imagination. In my stories they often took the form of friends, companions, guides or guardians. Animals can carry so many layers of meaning and symbolism. For example, birds often appear in my drawings. They have always fascinated me, creatures that exist between the worlds moving freely between the earth and the sky, such freedom! In my works sometimes they are messengers carrying whispers from places beyond reach, or perhaps guides through the bridges, connecting the inner world of the characters with something bigger than themselves. At times they embody transformation and the ability to rise above limitations and what binds us to see life from a broader perspective and follow with courage those unseen currents that lead us toward growth.



Where did the idea for the piece Whisperer come from? What do you want the viewer to feel when looking at it?

Whisperer first appeared in my drawings a few years ago. It is inspired by Szeptucha (Polish name for Whisperer) who in Slavic tradition is a wise healer and guardian of hidden knowledge. She was perceived almost as a mystical figure who worked quietly, through whispers, nature and intuition. My great grandmother was one of them, she lived beside the forest all her life, gathering herbs, applying old, traditional remedies… she always evoked this sense of wonder in me, transmitting an almost otherworldly sense. I wanted to bring all those memories and senses to my drawn and painted world



What are your plans for the future? Any shows or collaborations planned?

My main goal right now is to build a solid portfolio of oil paintings. I’m working on very first body of work in this medium, without pressure or external influences, observing where it will take me. I am responding to themes and stories that emerge naturally during this chapter and only after it’s done, will I look for a place where it belongs. Galleries, art fairs, privet collectors, or perhaps something completely different? Who knows, I am open to all opportunities.