A nine-year period of creative work is not long enough to summarise itself, a period not long enough to define itself and close the book on any system. In the case of Agnieszka Kozien, however, one might have the temptation to attempt such a definition which would allow one to look at this almost decade-long period as a whole.
Agnieszka Kozien's work is distinguished by its formal discipline. Even in her diploma pictures one felt the traces of an artist's clarity of expression, through an economical and synthetic building of pictures. In that period her colours were rather subtle, based on monochrome, pictures drawn on walls. This did not in any way indicate an accidental quality or an interest in material art, for from the beginning Agnieszka Kozien has been a supporter of the post-cubist vision of form. In the cycles "Life line", "Genesis" and "Rajasthan" there is a decided formal vision - Agnieszka Kozien does not give the viewer a choice. The viewer must know the language which serves the artist, thanks to which a total contemplation of the picture may be possible. The approach of an artist such as Agnieszka Kozien is in fact classical. However the quality of the form decides on a departure from that which would normally be connected with it. In the "Rajasthan" exhibition catalogue the description of this exotic location is extraordinarily impressionistic and, reading it, one might have the sense that it was written by an artist sensitive to light and various tones of shadow. This short note by Agnieszka Kozien, probably written by the artist in her travelling diary is exceptionally misleading, because in fact we have an artist who is more sensitive to form, the solid figure, and shape, than to light. I want to say through this that light is necessary to the degree that one conceives of the picture as larger and smaller layers of intense colour. That which we find in it - elements of town and landscape which describe a certain climate -only faithfully testifies to an oeuvre built above all from abstract values. Simplified strong figures and forms, decisive colouring, presently more contrasted and layered, which create a sense of space, these are the clear virtues of the painting of Agnieszka Kozien.
Until this time I have undertaken the description of Agnieszka Kozien's landscapes in a comprehensive manner, nevertheless hoping that I was describing the paintings of this artist independent of their subject, because when we remind ourselves of the heads - self-portraits of Agnieszka Kozien - we then see that from subject to subject the artist solves the same problem, perhaps the same dilemma: how to use a particular form and cross its limits in order for the picture to become a picture which can also direct us to another side of perception. It seems that there is no other path except form, which up to now this painter effectively demonstrates in her work.
I will point out one more thing. The artistic world of Agnieszka Kozien, though it is consciously constructed from beginning to end, is at the same time her very personal view of the world, becoming a poetic ideogram, thanks to which these pictures speak to us with an internal life, with the harmony of tone and form changing places in spatial layout, through which easily in such a world of tension and disharmony, is necessary to every painter.