In The Looking Glass, 2025
Magda Stawarska
For nearly two decades, UK-based artist Magda Stawarska has explored the threshold of memory, the sanctioned shape of history, and the active experience of listening. Through sound and performance, moving image, photography, painting, and printmaking, the artist unfolds overlooked and contested narratives of the past through her practice of “inner listening”. Stawarska’s distinct approach to artmaking often begins with explorations of cities. Traversing self-directed routes, the artist has often been compared to a flaneur—moving through each site, cultivating a rhythmic score that reveals a densely layered urban topography. These situated scenes become the basis for a distinct form of language—one of conjured imaginaries. The artist and her carefully chosen collaborators unbuckle the seams of the aural landscape, using personal reflection and language, which the artist uses to create installations that constellate active feelings.
Over the past decade Stawarska and Lubaina Himid have developed a collaboration where voice, music and sound compositions enter into dialogue with painting. Narrations, thoughts and poems from Himid's imagination and memories form the textual threads of Stawarska's sonic tapestries. The two have collaborated on works included at Spike Island, Bristol (2017); New Museum, New York (2019); WIELS, Brussels (2020) Tate Modern, London (2021) Sharjah Art Foundation (2023) and most recently in their joint exhibition at MUDAM Museum of Modern Art, Luxembourg (2025). They will exhibit together at Kettles Yard Cambridge this summer.
Stawarska’s solo exhibitions include Drift (2024) at Yamamoto Keiko Rochaix, London, Spaces and Moments (2021) at Yamamoto Keiko Rochaix, London, Close Up/Long Shot at the Polish Institute and Cross Cut at the Projectroom MAG3 Vienna, Austria (2019) and To Follow at the Academy of Fine Arts, Warsaw, Poland (2018).
Her recent group shows include: A Fine Toothed Comb, HOME, Manchester (2023); Rewinding Internationalism, Van Abbe Museum, Eindhoven, The Netherlands and Villa Arson, Nice, France, (2022-2023); Risquons-Tout, WIELS Contemporary Art Centre Brussels (2020); 'Invisible Narratives; New Conversations about Time and Place', Newlyn Art Gallery, Penzance, UK, (2019); The 4th International Biennale of Casablanca, Morocco (2018); 'Sounds Like Her', an exhibition which toured in the UK starting at New Art Exchange, Nottingham, York Art Gallery and Gallery Oldham, (2017-2020). Her work is held in the collections of Arts Council England, The Government Art Collection, The British Library Sound and Vision Collection; The China Printmaking Museum, Shenzhen; The International Print Triennial Society, Krakow; The Tonspur Kunstverein, Vienna; The International Centre of Graphic Arts, Ljubljana and The International Printmaking Biennial of Douro, Alijó and The Association of the Museums of Painting and Sculpture; Istanbul, Sharjah Art Foundation Collection; Sharjah.
Magda Stawarska lives and works in London and Preston (UK).
In The Looking Glass, 2025
Magda Stawarska
For nearly two decades, UK-based artist Magda Stawarska has explored the threshold of memory, the sanctioned shape of history, and the active experience of listening. Through sound and performance, moving image, photography, painting, and printmaking, the artist unfolds overlooked and contested narratives of the past through her practice of “inner listening”. Stawarska’s distinct approach to artmaking often begins with explorations of cities. Traversing self-directed routes, the artist has often been compared to a flaneur—moving through each site, cultivating a rhythmic score that reveals a densely layered urban topography. These situated scenes become the basis for a distinct form of language—one of conjured imaginaries. The artist and her carefully chosen collaborators unbuckle the seams of the aural landscape, using personal reflection and language, which the artist uses to create installations that constellate active feelings.
Over the past decade Stawarska and Lubaina Himid have developed a collaboration where voice, music and sound compositions enter into dialogue with painting. Narrations, thoughts and poems from Himid's imagination and memories form the textual threads of Stawarska's sonic tapestries. The two have collaborated on works included at Spike Island, Bristol (2017); New Museum, New York (2019); WIELS, Brussels (2020) Tate Modern, London (2021) Sharjah Art Foundation (2023) and most recently in their joint exhibition at MUDAM Museum of Modern Art, Luxembourg (2025). They will exhibit together at Kettles Yard Cambridge this summer.
Stawarska’s solo exhibitions include Drift (2024) at Yamamoto Keiko Rochaix, London, Spaces and Moments (2021) at Yamamoto Keiko Rochaix, London, Close Up/Long Shot at the Polish Institute and Cross Cut at the Projectroom MAG3 Vienna, Austria (2019) and To Follow at the Academy of Fine Arts, Warsaw, Poland (2018).
Her recent group shows include: A Fine Toothed Comb, HOME, Manchester (2023); Rewinding Internationalism, Van Abbe Museum, Eindhoven, The Netherlands and Villa Arson, Nice, France, (2022-2023); Risquons-Tout, WIELS Contemporary Art Centre Brussels (2020); 'Invisible Narratives; New Conversations about Time and Place', Newlyn Art Gallery, Penzance, UK, (2019); The 4th International Biennale of Casablanca, Morocco (2018); 'Sounds Like Her', an exhibition which toured in the UK starting at New Art Exchange, Nottingham, York Art Gallery and Gallery Oldham, (2017-2020). Her work is held in the collections of Arts Council England, The Government Art Collection, The British Library Sound and Vision Collection; The China Printmaking Museum, Shenzhen; The International Print Triennial Society, Krakow; The Tonspur Kunstverein, Vienna; The International Centre of Graphic Arts, Ljubljana and The International Printmaking Biennial of Douro, Alijó and The Association of the Museums of Painting and Sculpture; Istanbul, Sharjah Art Foundation Collection; Sharjah.
Magda Stawarska lives and works in London and Preston (UK).
In The Looking Glass, 2025
Magda Stawarska
For nearly two decades, UK-based artist Magda Stawarska has explored the threshold of memory, the sanctioned shape of history, and the active experience of listening. Through sound and performance, moving image, photography, painting, and printmaking, the artist unfolds overlooked and contested narratives of the past through her practice of “inner listening”. Stawarska’s distinct approach to artmaking often begins with explorations of cities. Traversing self-directed routes, the artist has often been compared to a flaneur—moving through each site, cultivating a rhythmic score that reveals a densely layered urban topography. These situated scenes become the basis for a distinct form of language—one of conjured imaginaries. The artist and her carefully chosen collaborators unbuckle the seams of the aural landscape, using personal reflection and language, which the artist uses to create installations that constellate active feelings.
Over the past decade Stawarska and Lubaina Himid have developed a collaboration where voice, music and sound compositions enter into dialogue with painting. Narrations, thoughts and poems from Himid's imagination and memories form the textual threads of Stawarska's sonic tapestries. The two have collaborated on works included at Spike Island, Bristol (2017); New Museum, New York (2019); WIELS, Brussels (2020) Tate Modern, London (2021) Sharjah Art Foundation (2023) and most recently in their joint exhibition at MUDAM Museum of Modern Art, Luxembourg (2025). They will exhibit together at Kettles Yard Cambridge this summer.
Stawarska’s solo exhibitions include Drift (2024) at Yamamoto Keiko Rochaix, London, Spaces and Moments (2021) at Yamamoto Keiko Rochaix, London, Close Up/Long Shot at the Polish Institute and Cross Cut at the Projectroom MAG3 Vienna, Austria (2019) and To Follow at the Academy of Fine Arts, Warsaw, Poland (2018).
Her recent group shows include: A Fine Toothed Comb, HOME, Manchester (2023); Rewinding Internationalism, Van Abbe Museum, Eindhoven, The Netherlands and Villa Arson, Nice, France, (2022-2023); Risquons-Tout, WIELS Contemporary Art Centre Brussels (2020); 'Invisible Narratives; New Conversations about Time and Place', Newlyn Art Gallery, Penzance, UK, (2019); The 4th International Biennale of Casablanca, Morocco (2018); 'Sounds Like Her', an exhibition which toured in the UK starting at New Art Exchange, Nottingham, York Art Gallery and Gallery Oldham, (2017-2020). Her work is held in the collections of Arts Council England, The Government Art Collection, The British Library Sound and Vision Collection; The China Printmaking Museum, Shenzhen; The International Print Triennial Society, Krakow; The Tonspur Kunstverein, Vienna; The International Centre of Graphic Arts, Ljubljana and The International Printmaking Biennial of Douro, Alijó and The Association of the Museums of Painting and Sculpture; Istanbul, Sharjah Art Foundation Collection; Sharjah.
Magda Stawarska lives and works in London and Preston (UK).
In The Looking Glass, 2025
Magda Stawarska
For nearly two decades, UK-based artist Magda Stawarska has explored the threshold of memory, the sanctioned shape of history, and the active experience of listening. Through sound and performance, moving image, photography, painting, and printmaking, the artist unfolds overlooked and contested narratives of the past through her practice of “inner listening”. Stawarska’s distinct approach to artmaking often begins with explorations of cities. Traversing self-directed routes, the artist has often been compared to a flaneur—moving through each site, cultivating a rhythmic score that reveals a densely layered urban topography. These situated scenes become the basis for a distinct form of language—one of conjured imaginaries. The artist and her carefully chosen collaborators unbuckle the seams of the aural landscape, using personal reflection and language, which the artist uses to create installations that constellate active feelings.
Over the past decade Stawarska and Lubaina Himid have developed a collaboration where voice, music and sound compositions enter into dialogue with painting. Narrations, thoughts and poems from Himid's imagination and memories form the textual threads of Stawarska's sonic tapestries. The two have collaborated on works included at Spike Island, Bristol (2017); New Museum, New York (2019); WIELS, Brussels (2020) Tate Modern, London (2021) Sharjah Art Foundation (2023) and most recently in their joint exhibition at MUDAM Museum of Modern Art, Luxembourg (2025). They will exhibit together at Kettles Yard Cambridge this summer.
Stawarska’s solo exhibitions include Drift (2024) at Yamamoto Keiko Rochaix, London, Spaces and Moments (2021) at Yamamoto Keiko Rochaix, London, Close Up/Long Shot at the Polish Institute and Cross Cut at the Projectroom MAG3 Vienna, Austria (2019) and To Follow at the Academy of Fine Arts, Warsaw, Poland (2018).
Her recent group shows include: A Fine Toothed Comb, HOME, Manchester (2023); Rewinding Internationalism, Van Abbe Museum, Eindhoven, The Netherlands and Villa Arson, Nice, France, (2022-2023); Risquons-Tout, WIELS Contemporary Art Centre Brussels (2020); 'Invisible Narratives; New Conversations about Time and Place', Newlyn Art Gallery, Penzance, UK, (2019); The 4th International Biennale of Casablanca, Morocco (2018); 'Sounds Like Her', an exhibition which toured in the UK starting at New Art Exchange, Nottingham, York Art Gallery and Gallery Oldham, (2017-2020). Her work is held in the collections of Arts Council England, The Government Art Collection, The British Library Sound and Vision Collection; The China Printmaking Museum, Shenzhen; The International Print Triennial Society, Krakow; The Tonspur Kunstverein, Vienna; The International Centre of Graphic Arts, Ljubljana and The International Printmaking Biennial of Douro, Alijó and The Association of the Museums of Painting and Sculpture; Istanbul, Sharjah Art Foundation Collection; Sharjah.
Magda Stawarska lives and works in London and Preston (UK).
In The Looking Glass, 2025
Magda Stawarska
For nearly two decades, UK-based artist Magda Stawarska has explored the threshold of memory, the sanctioned shape of history, and the active experience of listening. Through sound and performance, moving image, photography, painting, and printmaking, the artist unfolds overlooked and contested narratives of the past through her practice of “inner listening”. Stawarska’s distinct approach to artmaking often begins with explorations of cities. Traversing self-directed routes, the artist has often been compared to a flaneur—moving through each site, cultivating a rhythmic score that reveals a densely layered urban topography. These situated scenes become the basis for a distinct form of language—one of conjured imaginaries. The artist and her carefully chosen collaborators unbuckle the seams of the aural landscape, using personal reflection and language, which the artist uses to create installations that constellate active feelings.
Over the past decade Stawarska and Lubaina Himid have developed a collaboration where voice, music and sound compositions enter into dialogue with painting. Narrations, thoughts and poems from Himid's imagination and memories form the textual threads of Stawarska's sonic tapestries. The two have collaborated on works included at Spike Island, Bristol (2017); New Museum, New York (2019); WIELS, Brussels (2020) Tate Modern, London (2021) Sharjah Art Foundation (2023) and most recently in their joint exhibition at MUDAM Museum of Modern Art, Luxembourg (2025). They will exhibit together at Kettles Yard Cambridge this summer.
Stawarska’s solo exhibitions include Drift (2024) at Yamamoto Keiko Rochaix, London, Spaces and Moments (2021) at Yamamoto Keiko Rochaix, London, Close Up/Long Shot at the Polish Institute and Cross Cut at the Projectroom MAG3 Vienna, Austria (2019) and To Follow at the Academy of Fine Arts, Warsaw, Poland (2018).
Her recent group shows include: A Fine Toothed Comb, HOME, Manchester (2023); Rewinding Internationalism, Van Abbe Museum, Eindhoven, The Netherlands and Villa Arson, Nice, France, (2022-2023); Risquons-Tout, WIELS Contemporary Art Centre Brussels (2020); 'Invisible Narratives; New Conversations about Time and Place', Newlyn Art Gallery, Penzance, UK, (2019); The 4th International Biennale of Casablanca, Morocco (2018); 'Sounds Like Her', an exhibition which toured in the UK starting at New Art Exchange, Nottingham, York Art Gallery and Gallery Oldham, (2017-2020). Her work is held in the collections of Arts Council England, The Government Art Collection, The British Library Sound and Vision Collection; The China Printmaking Museum, Shenzhen; The International Print Triennial Society, Krakow; The Tonspur Kunstverein, Vienna; The International Centre of Graphic Arts, Ljubljana and The International Printmaking Biennial of Douro, Alijó and The Association of the Museums of Painting and Sculpture; Istanbul, Sharjah Art Foundation Collection; Sharjah.
Magda Stawarska lives and works in London and Preston (UK).