Superposition – a quantum principle in which a system exists in multiple states at once until it is measured. Although Edyta Hul’s works build significantly on the principle of superposition, their subject is not Schrödinger’s cat. Her formulation leans toward the lyrical: she adopts the unfathomable density of vegetation as her visual language. The interwoven layers of flora — folding onto and into one another — appear before the viewer with such compact intensity that, while observing the works, one suddenly realizes: the surfaces of the paintings are physically finite, yet the narratives encoded within them refuse to conclude in our minds.
The works presented here are contradictory in themselves — they simultaneously attempt to declare firm vegetal forms and to dismantle them into their atoms. We are not merely looking at plants; we are confronted with the very idea of creation — as if, beyond the density of leaves and tendrils, we could witness photosynthesis, or the cell division that occurs in the act of growth. Owing to the artist’s advanced technique, layering takes on a new meaning — instead of linear, inward progression, we witness a decomposition into depths, a biomorphic fermentation, with the canvas as its petri dish and nature — bursting from the confines of the frame, born from paint — as its final product.
“Creation and disintegration,” the artist says of her practice. And indeed, the processes of “beginning” and “origin” both emerge from this cycle. According to the Big Bang theory, the Universe existed 12–16 billion years ago in a state of immense density and temperature, and from this primordial state it expanded through an explosive unfolding. To cross the boundaries of ourselves, we must shed our former selves. For an oak to grow wide, the seed must break apart and vanish — yet as Nicolaus Cusanus writes, within the seed the entire tree already exists as possibility.
Creation and development always contain an element of destruction — but in that destruction, the fullness of what follows is already present, as one of the hidden mysteries of the world. Edyta Hul’s work originates from this mystery. There is no true beginning and no true end — only circular processes. Her works do not aim for direct representation — rather, they seek suspension. A moment caught and held still, one that cannot be physical, only theoretical: a paradox that fuses life and disappearance into one.