Tatiana Wolska is an artist who explores the relationship between perception and matter, and between art and life, through drawings and installations that transcend the boundaries of space.

Her lines spread like living organisms across walls, floors, ceilings, and even through the cracks of structures. The drawing is not merely the product of thought but resembles biological growth, multiplying through repetition and layering.

For this Jeonnam International Ink Biennale, there was a special shift.
Originally, she had planned to create a large-scale drawing covering an entire wall. However, due to changes in the plan, she turned to working with hanji, traditional Korean paper.

She purchased hanji herself in Gwangju. Encountering this material for the first time, she was fascinated by how it absorbed ink and revealed unexpected textures. Through the process of tearing and rejoining, she discovered both the strength and fragility of hanji. Thousands of fragments were stapled together, like sutures on wounds, eventually forming a monumental surface.

Wolska regarded this not as a simple substitution, but as an experiment in transforming failure and reconstruction into a creative methodology. With just hanji, ink, and staples, the work evolved into endlessly shifting forms—leather, fabric, feathers, landscapes—creating an autonomous language beyond the artist’s control.

Her work does not ask “What should I draw?” but rather “How can we perceive and relate?”

The theme of this Biennale is 〈Neighbors of Civilization – Somewhere Over the Yellow Sea〉. Wolska’s hanji work explores sensations “before becoming,” at the edges of civilization, bringing forgotten feelings, fragmented forms, and unrecognized pieces onto the surface of art.
In the moment when countless fragments come together as one, we are invited to witness a landscape of contemporaneity where destruction and repair, failure and festivity coexist.