Ania is a mixed-media artist who incorporates unique strokes and a variety of vibrant colours into her figurative work. The most interesting part of Ania’s art career is happening right now as she is on a quest to discover her artistic identity.

Ania’s journey as an artist began at the young age of 11 when she started ART SCHOOL. Gouache still lifes, nature paintings, clay practice, and engraving prints were the things around her for the 6 years of this stage of education. Later, when Ania reached high school, her interest shifted to ARCHITECTURE. During the next 8 years, she mastered graphic skills by drawing human anatomy, advanced geometric shapes compositions, and architecture drawings. After graduating with a MASTER of ARCHITECTURE, Ania stood by her visual art skills for a decade to work on high-scale architectural projects.

In 2020, while the world went crazy with the pandemic, Ania was in the middle of sweet motherhood time. Calmly drawing every day in a living room studio between her mother’s chores, she used her time to develop a whimsical way to capture people with huge hands and tiny heads. Ania names them “drawing jokes” and it's defined as her signature way to paint people. Thanks to the increasingly positive feedback, Ania soon started to draw commissions and teach students full-time. By 2024, Ania expanded her practice, introducing acrylic painting series inspired by the rich colours of Vancouver’s landscapes. Her practice continues to evolve through an ongoing exploration of colour relationships, seeking unexpected and expressive combinations found within the natural world.

A year later, while continuing to exhibit her work and grow on the professional art scene, she launched a painting events company dedicated to making art accessible to everyone eager to explore their creativity. With no prior experience required, participants can step into the world of art, feel like real artists, and create their own masterpiece in just one day.

To me, landscape is not a subject. I approach it as a question. The human eye sees more colours than we are accustomed to notice, and my practice is an ongoing attempt to slow down enough to find them.

Most of my paintings begin outdoors, working en plein air and responding directly to what is in front of me. The human eye is remarkably sensitive to subtle variations of colour - nuances that even the best camera can flatten or lose. A seemingly simple green, blue, or grey can contain an unexpected range of colours that only becomes visible through prolonged observation. Painting from life gives me the opportunity to discover these nuances and explore the relationships between them. I am less interested in reproducing the subject exactly as it appears than in understanding the colour relationships that make up my experience of it.

The day I immigrated to Vancouver, Canada, I discovered that the colours of the landscape were profoundly different from those I had known in Europe. The light, the vegetation, the water, and the atmosphere struck me so strongly that, at first, the colours seemed almost neon to my eye. This new visual environment opened up an entirely different field of colour research for me. Since then, the landscapes and natural surroundings of British Columbia have provided a familiar and constantly changing framework for this exploration. They give me something concrete to look at while leaving room to experiment: to shift a colour, intensify it, place unexpected tones beside one another, or simplify what I see. 

Within this process, broad, visible brushstrokes become another subject of investigation. I use them not simply to apply colour, but as active elements of composition - considering their scale, direction, rhythm, and relationship to one another.

The recognizable image is therefore only the beginning. Beneath a landscape, a flower, or a still life is an ongoing investigation into colour relationships, and the physical language of paint. I want the paintings to hold both things at once: the experience of looking closely at the world and the evidence of the painter’s hand searching, discovering, and making choices.