Тhe world of art is constantly searching for new forms of expression; however, the KODRYSY technique occupies a special place. It is not only painting or graphics, but a deep meditative process in which the artist’s hand becomes a guide for images hidden beyond the threshold of everyday perception. In this interview, we immerse ourselves in the philosophy of this unique method, recognized on the international stage, and examine how personal history, intuition, and the energy of the great masters of the past intertwine into one visual language, capable of healing and providing answers to the most intimate questions.
Elzbieta, the KODRYSY technique is described as a "mature form of automatic drawing." How has your internal state during the creative process changed over the years: has it become easier for you to enter this state, or, on the contrary, have the images become more complex and demand more energy?
I have never had a problem entering a higher state of mind. This happens to me automatically, almost immediately after grasping a tool in my hand. I have noticed, however, that sometimes the difficulty is not the process itself, but the person for whom I am drawing the KODRYS. When I feel a strong energetic blockage from the recipient, I must stop, take a break, and resume drawing after some time, and sometimes I do this several times, which requires significantly more of my strength and energy. At the very beginning, my works were very built-up, dense, and graphically complex. Now they are less complex and more readable, which results from their translation into a painterly form. The most moving and energetically exhausting experience was a situation when I drew a KODRYS for a Pole who went missing in another country. According to my drawing, it was possible to precisely indicate that place—many details matched even when compared with satellite photos. Unfortunately, help arrived too late. This event showed me what a great responsibility is associated with my gift. Now my works are perhaps less complex graphically, but instead much deeper in content.
You mentioned that KODRYSY help to perceive what is "invisible." Have there been cases in which the decoding of a drawing radically changed the life of the person for whom it was created, or helped find an answer to a question that for years seemed unsolvable?
Yes, it’s true—they help to see and understand what we do not see with the naked eye. KODRYSY explain people’s complicated life situations. I remember a woman who, after losing her husband and son, closed herself in her house like a snail in a shell. The KODRYS clearly suggested to her then not to dwell on the past and not to stay endlessly in pain, but to open up to people. Another person asked if the man she loves would return to her? The answer was: no, because he was already with another woman. Yet another person for years wondered if her brother had robbed her—the drawing confirmed those fears, giving a clear answer: yes.
KODRYSY reveal many human traumas, but also humorous situations. An interesting fact is also that in this technique, time plays no role. A friend who claimed to be the reincarnation of the mythical Garuda asked me to draw a KODRYS for him. Before the vernissage, I called him and asked about one element that I clearly saw in his drawing, and which he had not mentioned to me before—why do I see a vimana there, i.e., an ancient spaceship? Then he began to tell me about the connection between the vimana and Garuda. One could talk like this endlessly, because every KODRYS is a different mystery and a different look at a person.
Symbolism plays an essential role in your work. Have new symbols appeared in your "alphabet" recently as a response to contemporary global challenges, or do KODRYSY always refer to eternal, archetypal images?
In KODRYSY, there are no trends in terms of symbolism; instead, surprising and unexpected comparisons appear. Every sign appears as a response to a specific situation and is meant to serve the clearest possible communication of information. An example could be an accidental pregnancy compared to a game of yo-yo. A cat placed on the Wedding Palace means a civil wedding, and a cell phone symbolizes the flow of spiritual information. There are very many such non-obvious juxtapositions. I use symbols that will be most understandable to the recipient in a given context. In the case of contemporary symbols and archetypes, the one that is more understandable in the given context always appears. If an archetype conveys the meaning better—an archetype appears. If, however, a contemporary symbol is more adequate—it is used. The form of the symbol is always subordinate to the clarity and precision of the information transmission.
For over a year, you have been a member of the Global Talent Confederation project. Could you tell us about the most important events and activities that took place during your membership?
It was a year full of amazing experiences. The most important event was the participation in the World Talent Confederation Festival in London and the Great Gala Dinner at the luxurious Chesterfield Mayfair hotel. Receiving the Certificate in recognition of my works and the opportunity to make friends with high-ranking artists from all over the world was a priceless experience for me.
The next important step was the Art Tour in Spain. There, I could personally familiarize myself with the masterpieces of Salvador Dalí and Pablo Picasso. The Dalí Theatre-Museum made a colossal impression on me—his works harmonized with me incredibly. I also got to know the works of the master of architecture, Antoni Gaudí, and his famous Sagrada Família. All of this, along with the open-air sessions in the Santa Clotilde gardens, was a wonderful accumulation of artistic ideas and friendly ties with female artists from over twenty countries. At my local forum, I received the Barcin Mayor’s award for my overall artistic work and had an exhibition in the undergrounds of the Palace in Lubostroń.
Your period of membership in the Global Talent Confederation coincided with the active development of your brand. What was the most important professional achievement for you this year as an artist? Do you feel the support of the community in charting this "new path" you mentioned?
The most important professional achievement in 2025 was undoubtedly the nomination and winning of the title “Artist of Europe 2025” in Venice. I submitted my candidacy through Pitturi Amo and became a laureate, which was preceded by a thorough verification. I believe that my previous achievements in the Global Talent Confederation must have been noticed there.
I feel great support and care from the Confederation—belonging to You, I feel stronger and more confident in what I do. I like that you take care of everyone, and the questions you ask show high professionalism and deep, insightful interest in the creative work of every artist. I feel that thanks to this support, it is easier for me to walk this new path.
In November 2025, the Global Talent Confederation ART TOUR took place. What impact did the culture, light, and architecture of Spain have on your new works? Did new colors or rhythms appear in KODRYSY under the influence of this trip?
After returning from Spain, I was still finishing a few KODRYSY, but it was while being there that completely new ideas for changing the graphic design of my works occurred to me. That Spanish light and the specific rhythm of architecture made me begin to perceive the space on paper differently. In the coming days, I will be starting a new project, and I am extremely curious myself what the final result of this influence of Spanish culture on my internal visions will be.
An artistic trip to Spain is a step outside the comfort zone. During this trip, did you encounter any new challenges or unexpected sources of inspiration that forced you to look at your own "codes" and drawing technique in a new way?
Immersing myself in the art of the masters, it was impossible to pass by their works indifferently. Each of them strongly affected my senses, and particularly close to my heart became the graphics on handmade paper that I saw in Spain. I always wanted to try making such paper myself, and now I am burning with the desire to conduct this experiment—I am very curious what a KODRYS would look like on it. As for works on larger surfaces, new ideas have also occurred to me, which I intend to use soon, going beyond the previous patterns of my technique.
You were inspired by the idea of using handmade paper after the trip to Spain. How important is the "materiality" of the work to you? Can the texture of the paper or the way it is produced change the energetic "code" itself that appears on it?
I think that handmade paper would introduce extremely interesting visual sensations. Its uneven texture and the natural color of the surface give the work nobility, and painting a KODRYS in a monochromatic version could additionally emphasize its mystical character. However, as far as the energetic code itself is concerned, I can say one thing—paper has no influence on it. It is not able to change the content of the message, which remains constant, regardless of the surface or medium on which it is recorded. Matter is only the servant of the spirit.
You mentioned working on a book about the Warsaw Uprising and the history of your family. Do these heavy historical memories have an impact on your creative work today? Can KODRYSY help you and your readers deal with collective traumas from the past?
I am deeply grateful to my mother that I could learn the fate of my family from the period of World War II. Directly, there is no echo of these memories in KODRYSY, but I noticed something else—I understood that I am the sum of their attitudes and characters. What they went through, their honor, heroic attitude in every difficult situation, allowed me to understand my own strength, thanks to which I overcame enormous difficulties in life, never taking shortcuts. Incidentally, this book is very interesting and may interest many people; to finish it, I am still waiting for documents from the Institute of National Remembrance.
I also needed this strength so as not to deviate from my chosen artistic path, even though most galleries refused my exhibitions. On the other hand, people watched and listened to stories about KODRYSY with great interest, and others are still waiting for the book I will write about them. Regarding the overcoming of collective traumas, you asked a very interesting question—it is a great challenge. I am curious myself whether a clear answer would appear from the side of KODRYSY in this matter.
The history of your family is full of heroism and strength of spirit. If you were creating a KODRYS embodying the bond of generations and "genetic memory," what key symbol, in your opinion, could appear in its center?
If I were to create such a KODRYS, it would be the soul of a Pole. In its center, the White Eagle would necessarily appear, and around it selected scenes from the history of our country: the Hussars, Grunwald, the Battle of Warsaw, Monte Cassino. Around these events would be ordinary people—such as my grandparents—who, despite the adversities of fate, were able to face all difficulties with dignity. A time of peace has come, but life still puts us to the test—it checks our endurance, humility, and honesty. I think that I passed this test with an A+, and it is precisely thanks to my roots and the strength of my ancestors that flows within me. This genetic memory is my foundation.
If you could imagine an ideal gallery of the future where a KODRYSY exhibition would take place, where would it be located and what atmosphere would prevail in its interior, so that the viewer could immerse themselves as deeply as possible in meditation?
I imagine it like this: on the top floor of a slender skyscraper, where the sky meets the sea line, there is the atelier of the future—a sanctuary created specifically for KODRYSY. This is a space in which art breathes with light, and light reacts to emotions. Above the entire gallery floats a roof made of intelligent glass. Its surface changes colors like a living organism—it turns blue when the sea is calm, lights up with gold during sunset, and on cloudy days wraps the interior in a soft, pearly glow. At night, it can take on deep shades of purple and navy blue, creating the impression that the atelier is drifting in cosmic space.
Panoramic windows open onto the vastness of the water. Waves reflect the light as if they wanted to co-create the exhibition. In the background flows delicate, relaxing music. The sounds react to the movement of visitors, creating the impression that the space listens and responds. Every KODRYS has its own semi-circular place—a modern interpretation of palace undergrounds. The niches are illuminated with a soft light that emphasizes the structure and energy of each work. In the center is a minimalist creative zone where new works are created in the rhythm of the changing sky.
You mentioned that KODRYSY are a gift of clairvoyance and high vibrations. How do you take care of your energetic balance and how do you regenerate after working on emotionally difficult cases, such as searching for missing persons?
In 2025, you received the prestigious title of "Artist of Europe" in Venice. How has this high international recognition influenced your internal sense of mission? Do you feel a greater responsibility now for spreading your method in the world?
