While in college Madga’s work focused on the role of fine art and craft in migration, multiculturism, and identity through the lens of her own experience of being local to Poland, Bulgaria and Ireland. She investigated the potential of craft as a universal language and its potential significance in understanding commonalities and shared experiences between cultures.
A part of this process was to understand her experience as a migrant in relation to her locality in North-Inner City Dublin; the day to day reality of this place, and Irish society as a whole; its history and its collective memory. In more recent work, drawing on the experiences of her daughter and her peers, she explored how these multicultural identities shift and change in the children of migrants born and raised in Ireland. Magda tries to understand the role of art, craft, acquired histories and languages in how identity is formed and performed.
The concept of unity appeared over the centuries in many works of art, literature, philosophy and in religious believes. The most recent scientific research on neuroaesthetic proved superior activity of the brain in the evaluation of paintings, sculptures, music and mathematics regardless of the style, gender, socio cultural and ethnic context or education. It was revealed as a phenomenon of the “experience of beauty”.
In Magda’s work she is concerned with neutral language combining what is usually considered as feminine and masculine in art. She applied this neutrality to both materials and selected issues in her research and analysis of architecture and well – known historical paintings representing women. Her process was based on the translation of nude female bodies from selected historical paintings into the language of architecture, drawn lines and urban maps. These objects were eventually placed as virtual proposals for buildings, lanes, parks and public sculptures around Dublin Docks.
The alleged story of spouses from 15th century in painting ‘Arnolfini Portrait‘ has become the main axis of the installation. Some elements represented in Jan van Eyck’s painting were recreated directly while others were interpreted and processed. The interior in this painting was deconstructed and redefined.
Represented objects were made of things collected or gathered during her studies such as, textiles, thread, clay and left overs from printing studio practice. Fabrics and prints were stitched and formed as an unidentified part of clothing, the reminiscent of aprons.