How do you make a painting when it is not about paint?

Margrit Lewczuk is known for her vibrant and hopeful paintings, drawings, and cut-outs with influences as varied as folk art, Op art, and Islamic textiles.


When you go to see the Orozco frescos on the ceiling in the Cabañas, it’s made with no more than three colors. I also am very interested in the idea of making the most from the least. And light is an important issue in my paintings.

Painter Margrit Lewczuk’s career was marred in 1999 by a fire that destroyed the contents of her Chelsea studio. Sixteen years later, she assembled a new oeuvre of vibrant paintings, drawings, and cut-outs while living and working in her Brooklyn home with her husband, fellow impassioned artist and professor Bill Jensen. The artist’s influences are not easily identifiable; in her work one might sense the organic symmetry of Ukrainian or Mexican folk art, the vibrating illusions of ’60s Op art or Islamic textiles, the expressively abstracted mathematics of Agnes Martin, the macro focus and whimsy of Hilma af Klint, or the playfully curved shapes and lively palettes of Henri Matisse or Yayoi Kusama. In devotion to the theme of her own transformation and renewal after disaster, her new work features symbols of rebirth such as eggs, angels, crosses, and the chrysalis. With these hopeful themes, she doesn’t mourn the past; she celebrates the potential of the present and future, affirming the power of long change, in gestation, incubation, and meditation.