Margherita Lipinska Poland, b. 1964

Works
  • Margherita Lipinska, Ares, 2024
    Margherita Lipinska
    Ares, 2024
    Acrylic on brocade canvas
    157 x 136 cm
  • Margherita Lipinska, Hermes, 2023
    Margherita Lipinska
    Hermes, 2023
    Acrylic on brocade canvas
    187 x 140 cm
  • Margherita Lipinska, Medusa, 2023
    Margherita Lipinska
    Medusa, 2023
    Acrylic on jute canvas
    100 x 125 cm
  • Margherita Lipinska, Antinoo, 2023
    Margherita Lipinska
    Antinoo, 2023
    Acrylic on velvet canvas
    143 x 150 cm
  • Margherita Lipinska, Minerva, 2022
    Margherita Lipinska
    Minerva, 2022
    Acrylic on jute canvas
    142 x 126 cm
  • Margherita Lipinska, Medusa, 2022
    Margherita Lipinska
    Medusa, 2022
    Acrylic on brocade canvas
    140 x 146 cm
  • Margherita Lipinska, Ulisse, 2022
    Margherita Lipinska
    Ulisse, 2022
    Acrylic on canvas
    123 x 95 cm
  • Margherita Lipinska, Venere di Capua, 2022
    Margherita Lipinska
    Venere di Capua, 2022
    Acrylic on canvas
    113 x 95 cm
  • Margherita Lipinska, Minerva, 2022
    Margherita Lipinska
    Minerva, 2022
    Acrylic on brocade canvas
    142 x 126 cm
Biography
Margherita Lipinska was born in 1964 in Poland, in 1989 she graduated in Painting at the Academy of Fine Arts in Gdansk.
In 1991-92 she continued her studies in Rome having obtained a scholarship at the La Sapienza University.
Since 1991 she has lived in Rome where she carries out her artistic activity.
The artist defines her painting as an investigation into  time and a way to relate to the present in the awareness of the belonging of occidental culture to the Greco-Roman roots.
Ancient art and myth create a reassuring ground where the artist can carry out her artistic research in the face of a present full of uncertainties.
Through the use of unusual supports such as velvet, jute, recycled cardboard and bright colors Lipinska creates a contamination that overlaps the classic images. Large formats and soft canvases, sometimes without frames, give a fresh and informal look to the images represented which are often well-known representations of famous sculptures.
In this way the ancient object is desecrated but without destroying its beauty and its perfection, the sculptures portrayed become contemporary and represent none other than ourselves. The use of famous images, already familiar to the viewer, creates a common language facilitating the beginning of dialogue.
In her work she want to give voice to the amazing topicality of ancient history and art. She believes that our contemporaneity would be much poorer if we did not continue to confront ourselves with the classical era.
Exhibitions
Events