works
100
(2022/23)
Printed as a monotype on a silkscreen base – each piece is unique, yet part of a disciplined seriality. The works in the 100 series were created on genuine cotton rag paper using hand-drawing and a self-developed hybrid technique. Each image is a unique piece, marked by its own visual dynamic. I used black gouache, sharply contrasting with the bright white of the high-quality paper. The motif: numerous oversized daisies stacked on top of one another (in Polish: „Stokrotki” – literally “a hundred times”), their line-focused contours constantly shifting within the image. The clear line, one of my most essential tools of expression, distinctly forms the flower’s shape – and yet, it keeps dissolving, spreading into deep black fields across the surface. Seen up close, these dark areas reveal hidden structures: sharp outlines embedded in the almost blood-like blackness – resembling the burnt trace of a skeleton.This interplay between what seems and what is – between purity and distortion – is where I try to create ambiguity and multi-layered meaning during the process of making the image. Daisies. So ordinary, so taken for granted. Found everywhere – in fields, cities, roadside margins. In sunlight and half-shadow. A perennial, evergreen plant that seems to thrive anywhere, asking for nothing. Often associated with innocence and trust, and yet, despite its resilience, perceived as delicate. What speaks to me most is its minimal form – sun-like, almost iconic – and its reduced color scheme: white petals and a yellow circular center. In Polish, the daisy is called Stokrotka – literally, “the hundred-times-little-one.” That’s where the title 100 comes from: a symbolic gesture toward infinity, and at the same time, a nod to the idea of one daisy – repeated a hundred times.
View collectionGIRLS
(2021/22)
In her series GIRLS, Peperski continues her exploration of the human face, translating her distinctive visual language into a new painterly form. The works present large to very large canvases on which female faces confront the viewer directly – a gesture of confidence, both from the artist and from the women portrayed. The faces are reduced to their most essential features. Eyes, brows, and hair remain, while mouth, nose, or any marks of individuality are deliberately left out. This reduction strips the portraits of volume and shading, replacing plasticity with clarity and line. In black gouache on white-primed canvas, the faces emerge as compositions of lines and points. No grey tones soften the contrasts; the images rely on the stark dialogue between black and white. What distinguishes these works is the physicality of their execution. Each brushstroke is unique, impossible to correct, and directly linked to the movement of the artist’s body. Long, sweeping lines demand full physical engagement, resulting in an immediacy and individuality that stands apart from mechanical precision. The visible strokes embody both fragility and presence, balancing control with spontaneity. The choice of gouache reinforces this tension. Applied on monumental canvases, the water-based medium conveys vulnerability and impermanence, contrasting with the scale and directness of the portraits. Photography remains the starting point: Peperski photographs women from her surroundings, then reworks these images digitally before projecting and tracing them onto canvas. Yet in the act of painting, the lines transcend their role as mere outlines, taking on their own rhythm and vitality. The result is a series of striking, reduced portraits that oscillate between presence and absence, strength and fragility—faces that look back at us with clarity, vulnerability, and unmistakable individuality.
View collectionRoyal Icing
(2021)
In Royal Icing, Peperski presents expansive landscapes – mountain ranges, lakes, and forests – rendered in sketch-like lines and carefully composed colors. The series originates from her intuitive drawings and sketches of natural environments, which she here transforms into large-scale monotype screen prints. Each sheet of handmade paper is a unique original, as the color is applied directly to the screen. Even when the screen is reused, the result shifts: a second impression becomes more irregular, marked by streaks and traces of movement, creating another distinct work rather than a reproduction. A defining feature of the series is the innovative technique of applying paint. Instead of traditional brushes, Peperski employs piping bags normally used for decorating cakes. By filling them with liquid pigment and guiding the flow of color across the screen with precise gestures, she merges a domestic tool with the language of fine art. This recontextualization of everyday materials connects the works to feminist artistic traditions, while the title Royal Icing elevates the method itself into a central conceptual element. Color plays a vital role in Royal Icing. Peperski develops a structured chromatic system inspired by musical harmony, working with triads and subtle tonal variations. Every sheet carries a sandy brown base, combined with black, white, and two additional primary or secondary colors in finely differentiated hues. The result is a vibrant spectrum: rich greens, earthy browns, and luminous blues, all tied together by the unifying sand tone. The series thrives on the interplay between spontaneity and structure. Free, intuitive outlines derived from drawings are complemented by areas of color that follow a deliberate system. Gesture meets order, movement meets composition. Each sheet stands independently, yet they are connected through their subject – landscape – and through the chromatic framework that holds the series together.
View collectionL.A. Core Shadow II
(2013)
The series L.A. Core Shadow was created in Los Angeles in early 2013. Working directly on the streets, Peperski spread large sheets of white paper on sidewalks and traced shadows cast by everyday objects – cars, bicycles, café tables – using a marker. The drawings, marked with dirt, footprints, and tape, became genuine fragments of the urban environment, carrying the raw energy of street art. These outlines were later transferred to large silkscreens and printed as bold, monochrome surfaces. The works transform ephemeral shadows into lasting forms, playing with the tension between presence and absence, positive and negative. A shadow both reveals what light cannot reach and testifies to the object that blocks it—yet, in Peperski’s prints, the shapes take on their own life, detached from their origins. Printed on heavy handmade paper, the works are saturated with vivid colors—yellow, green, orange, deep blue—contrasting sharply with the white of the page. The intensity of color lends weight and vitality to forms that once existed only as fleeting traces on the pavement. In this way, L.A. Core Shadow captures the immediacy of the street while translating it into a striking, lasting visual language.
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