Critic texts
Thibault Loucheux, Magazine Snobinart, January 2023
Kate Wyrembelska: "My work reflects my personality: full of paradoxes, multifaceted"
5 pages interview in French Art Magazine
Virginie Moreau, Magazine Hérault Juridique & Économique, 28.10.2020
„[...] At the entrance, despite its bright colors, its psychedelic “Breaking Wave”, according to the artist, evokes the emotions provoked by the surge of images on our screens, in particular on the Covid: fear, worry, fatigue… Variations “flow” on the steps of the Saint-Ravy space, thus signifying a sort of collapse of the information society.
Through her representation of synchronized / desynchronized swimmers in video and silkscreen prints on canvas and paper, Kate Wyrembelska denounces the mechanization of our lives, imprisoned in a repetitive system, according to her [...]”.
Thibault Loucheux, Magazine Snobinart, 28.10.2020
„[...] Swimmers is an immersive exhibition in an aquatic universe through videos, installations, screen prints and paintings. Through her works, Kate Wyrembelska criticizes the media society and stereotypes such as the perfect body transformed into a machine. For her review, the artist uses synchronized swimming videos: "a sport in which performance must be perfect, although it requires effort and is unnatural."
When she begins her work on the Swimmers exhibition, Kate Wyrembelska works with figurative forms. As she creates, the shapes of her paintings mutate towards the abstract, as if the figure of the swimmer is distorted into psychedelic features.
A sensational exhibition that immediately takes us into the aquatic world of Kate Wyrembelska.
[...]”.
Bathing Beauty, Bernard Teulon-N, Magazine L’Art-Vues, 04.12.2020
„[...] The body then sees itself trapped in its image. Painting, and everything that makes a frame in general, clearly marks this state of confinement which takes on a value not only socio-political but also metaphysical. The art of advertising, flashy as a distorting mirror, and idealistic aestheticism in general, have pushed the exploitation of the natural condition of the body, in its infinite finitude, one might say, to cynicism. Without doubt KW, by virtue of her origins, is more than any other sensitive to this condition. And she pleads, more than any other, for her emancipation [...]”.
Bernard Marcadé, art critic and independent exhibition organizer.
