Kate Paul is a Wroclaw-based artist. She was born in 1988 in Wroclaw, Poland. She holds a master’s degree in painting and drawing from the Academy of Art and Design in Wroclaw. Throughout her career, she has also studied ceramics to expand her horizons and discover new possibilities as an artist. During her art studies, Kate wanted to invent something different and rarely followed the rules. She never tried to be “an academic painter”. She started painting full time in 2018, after working as a graphic and ceramic designer as well as a bass player and singer. Kate Paul comes from a part of Europe where transformation, the replacement of the old with the new, the accumulation of different ways of life and styles, the building of new walls on top of old ones,and all other clashes of spirit and matter are an appropriate pattern of life. Lower Silesia is a palimpsest of cultures: German, Czech, Polish, Jewish. Created over centuries through wars, looting, and revolutions, as a result of migration and resettlement, but also through the resilience of successive inhabitants. Her work has been appreciated in high-end interior and architectural contexts, including luxury residential and developer-led environments, with selected references including Casa Maranello by Aldo Stark, Skyblade Villa by Rosengard Real Estate Group, and editorial context connected with The Wall Street Journal, Forbes, Architectural Digest. And she, with her artistic gesture, continues and co-creates this fascinating overlapping of qualities,possible only in this location of the world. The past, she believes, does not let anyone forget about ithere. “In Lower Silesia you cannot live without it. Dark castles and palaces, abandoned villages and houses, shabby walls and columns, faded paintings. Their mysterious scenery is a canvas or my signs. What calligraphy means to me? I see it as a labyrinth. I follow a path of symbols so as not to lose my way. A bright line on a dark background is my Ariadne’s thread. Where do I want to get to? Toa mystery. The letters and digits I use aren’t always fully comprehensible, not even to me. Where do they come from? From the past. I study the writing in old documents and ornaments in ancient ruins, shapes of rundown furniture and destroyed tools. I feel that their look constitutes a cypher that connects yesterday with today. I do not use calligraphy for its beauty, as some other painters do, nordo I use it in order to experiment with form. Japanese, Latin or Arabic characters they all hold meaning. They say something about the world which created them. Do they say something about the people, too? Oh yes, they do! With a stroke of a hand holding a brush I get to know these people, their love and hate, desires and fears, their fate. The inscriptions in my paintings tell their stories."