14lk Interference: (Ingerencja): LL, Lilla Kulka, steel, linen, cotton, and fine jewelers’ silver thread, 36.5” x 32.75”, 2013, $13,000
15lk Interference: (Ingerencja): LK, Lilla Kulka, steel, linen, cotton, and fine jewelers’ silver thread, 36.5” x 32.75”, 2013, $13,000
5lk Wall and Secrets: (Mur i Tajemnica): Two Worlds, Lilla Kulka, steel, linen, cotton and fine jewelers silver thread; 36.5 x 32.5", 2007, $13,000
13lk Co-Bog Zlaczyl (What God has Joined),, Lilla Kulka, wool, silk, 55" X 48", 1987 $16,000
6lk/r Pair, Lilla Kulka, sisal, wool, stilon, 125" x 77", 1989, $22,000
10lk Small Collages I & II, Lilla Kulka, Collage I (2 figures), 1994 , Collage II (1 figure), 1993-94, 22.75" x 28.5", $4,500
9lk/r Friends, Lilla Kulka, combined materials, applique & own technique, 75.5" x 23", 1987-1988, $14,000
7lk/r Odchodzacy (Departure II), Lilla Kulka, wool, cotton & stilon, 92" x 36"' 235 x 95cm, 1993, $16,000
Education and Experience:
Studied at the Academy of Fine Arts, Krakow, Poland, in Stanislaw Teisseire’s painting studio and Magdalena Abakanowicz’s fiber studio. Graduated with distinction in painting and tapestry from State College of Arts, Poznan, Poland. Member of the Union of Polish Artists. Professor, Academy of Fine Arts, Krakow, Poland.
Central Museum of Textiles, Lodz, Poland (2nd - 4th, 7th, 7th, International Triennials of Tapestry); Savaria Museum, Szombathely, Hungary (International Biennials of Miniature Textiles); Institutes of Polish Culture, London, England and Paris, France; Helsinki, Finland (Polish Decorative Art, traveling exhibition); Jacques Baruch Gallery, Chicago, Illinois (The Figure in Fiber); Künstlerhaus, Vienna, Austria (Contemporary International Tapestry); Depolma Gallery, Düsseldorf, Germany; Allersma Borg, Holland (Textile Art); Jenny Marx Haus, Salzwedel, Germany (Textension); New Harmony Gallery of Contemporary Art, University of Southern Indiana (A Taste of Fiber; curated by Christa C. Thurman); Michoakan, Mexico (International Exhibition of Miniature Textiles); Textile Art Center, Chicago, Illinois; Northern Illinois University Art Museum and Art Museum Gallery, DeKalb and Chicago (Distance of Time, traveling exhibition, curated by Anne Baruch); Linz, Austria (Textile Objects); Moscow, USSR (Economic Exhibition, Light-Sound-Movement); Flinn Gallery, Greenwich Library, Connecticut (Beyond Weaving: International ArtTextiles); Sheldon Memorial Art Gallery & Sculpture Garden, Nebraska (Different Voices: New Art from Poland, traveling exhibition); Bureau of Artistic Exhibitions (BWA), Gallery of Modern Art, Kielce, Poland (Individual Retrospective Exhibition).
Selected permanent collections:
Central Museum of Textiles, Lodz, Poland; Textile Art Center, Chicago, Illinois; National Museum, Warsaw, Poland; Smart Museum of Art, Chicago, Illinois; Savaria Art Museum, Szombathely, Hungary.
Medal, International Triennial of Tapestry, Lodz, Poland; 1st Honorary Distinction; 2nd Prize; Grand and other prizes, 1976-1980, Tapestry of the Year Competition, Krakow, Poland.
5lk Wall and Secrets: (Mur i Tajemnica): Two Worlds, Detail
I create art that is mobile and site specific, on the intersection between the disciplines of fiber art, painting, and sculpture. Rather than locking myself within the bounds of any one artistic tradition, I have disregarded such artificial barriers to expression. My aim has been to remain true to my creative will, even when the political situation in my country made it difficult for me to present all of my work publicly in the 1970s and early 1980s.
The emotional experiences underlying my work are more important forms of inspiration than the formal visual arrangements I create. In the process of weaving, I am often surprised at the direction my work takes. I continually seek new means to convey my inner vision, often juxtaposing materials, such as steel and fiber, with diametrically different connotations. Fiber art is a form of painting and vice versa; my work collages abstract elements with found objects from my personal history, industrial slabs of steel with meticulously handwoven gobelin tapestries.
In my earlier work, I created large figurative forms pulsating from within layers of cold horizontal and vertical lines. These juxtapositions of human shadows, outlines, and a linear geometric format are meditations on the great mysteries of life, among them pain, power, love, and faith. The abstract content of my work cannot be easily explained by the titles of each piece. Indeed, I invite each viewer to search for and find an individual meaning in my work.