Beata Pałach doesn’t try to copy nighter recreate any cosmic motives. She rather introduces her own objects, intriguing abstract shapes, some mosaics of undefined form: melted crystals, tides, whirls, frozen in motion, sharply framed circles, which as a whole are quite static and balanced.  Her paintings aren’t overloaded with details. Based on strong chromatic dissonances – in which the honey-purple elements contrast with the inky streaks, and the malachite reflections melt into greenish-pearly shades of the background – her paintings are lined with elusive tension, a certain existential seriousness, and even some metaphysical anxiety.

One thing about abstract paintings is that they can be interpreted in various ways. So you have to carefully weigh the words and draw conclusions so as not to fall into the trap of overinterpretation. Perhaps the author wants to point out that we are simply impersonally stretched on two infinities-  from the micro to the macrocosm. For me Beata’s paintings are a narrative tension and thus an intriguing vision of different worlds. Worlds on the edge, behind which stretches the abyss of an inaccessible mystery. Because there are still borders that, despite the progress of science and technology, have not been crossed so far.