In her research, she deals with issues at the intersection of art, pedagogy and visual communication. She is particularly interested in the role of art in the process of identity construction and building intercultural dialogue. We talked to dr Małgorzata Karczmarzyk about the method of painting dialogues as a tool of visual communication, as well as her latest project in Cambodia.

Karolina Żuk-Wieczorkiewicz: - In your work, you combine science (pedagogy) with art. Which came first?

Dr Małgorzata Karczmarzyk: - Art came first - drawing, painting and photography, the search for visual means of expression. However, I soon began to realise that a painting does not only have an aesthetic impact, but also communicative, educational and therapeutic power. Then I became interested in pedagogy, semiotics and image psychology, as well as its influence on identity formation. This is how my approach combining art and science was born.

- What opportunities does this combination of science and art offer?

- This combination allows us to cross boundaries - both those between disciplines and between people. Art not only explores but also acts, provokes reflection, and initiates change. In the context of pedagogy and art education, it allows for the creation of spaces for dialogue that are more open, less hierarchical and more inclusive. Thanks to art, I can conduct research that does not remain confined to a scientific text but enters into real social and cultural interactions.

- Could you explain the painting dialogue method? How well does it work when working with people from different backgrounds or cultures?

- Painting dialogue is a method that I have been developing for years. It is based on the exchange of thoughts through images - instead of words, we use shapes, colours and symbols. It is visual communication. It is a creative process in which images ‘respond’ to each other, creating a visual dialogue. The method works in different environments because it does not require a common verbal language. I have worked with it in Europe and Asia - everywhere it triggered authentic communication, relationship building and mutual understanding.

- To what extent does the place (e.g. a specific space or country) where such a dialogue takes place influence the process?

- Place and culture are of great importance - they influence the way people who enter into such a dialogue express themselves. Each space carries a specific visual and emotional context that shapes the way participants enter into a painting dialogue. However, cultural differences can be both an inspiration and a challenge. Sometimes there is a lack of understanding - certain symbols or colours that have a specific meaning in one culture can be perceived completely differently or remain unreadable in another. The space shapes the visual narrative and influences what content appears and how it is perceived.

Sometimes, participants encounter barriers due to cultural differences. Certain symbols are sometimes illegible to others or evoke completely different associations. In Europe, the colour white is associated with purity, but in Asia it symbolises mourning. In such moments, the image becomes not only a carrier of meaning but also a tool for breaking down barriers - a visual starting point for conversation, discovering new perspectives and building intercultural bridges.

- How do the participants in painting dialogues react to this method? Perhaps you could share some examples that particularly stuck in your memory?

- Most often, participants are surprised - they discover that they can ‘speak’ through a painting, even if they have no previous experience in painting. Often, people who are initially sceptical get involved in the process and realise that they can include their emotions, experiences and stories in the painting. It is a breakthrough moment - when someone who thought they had no talent suddenly realises that art is not just for the chosen few.

I remember the students who said at the beginning: ‘I can't paint’, ‘It's not for me’, ‘I have no talent’. It was clear that they had been taught for years that art was elitist, accessible only to the ‘talented’. Meanwhile, painting dialogues are about something completely different - about the process, about authenticity, about allowing oneself to express oneself without fear of judgement.

- As an artist, do you prefer to create individually or ‘in dialogue’?

- It depends on the context. Creating my own work gives me space for introspection, while the process of painting dialogue is exciting and inspiring - it shows how paintings can ‘talk’ to each other. That's why both aspects intertwine in my work.

- When you create paintings, do you usually think of a specific cycle, or do they come about independently?

- I usually work in cycles because my paintings are part of a longer research and artistic process. Each cycle is a reflection on a specific topic - identity, culture, memory spectres.

- You are currently doing a research internship at Angkor University. What is the ‘auto-ethnographic research project’ that you are carrying out?

- It is a project in which I examine not only the ‘Other’, but also myself in the context of a different culture. Autoethnography allows me to look at how my identity changes when I come into contact with a new environment. I conduct interviews, artistic activities, and document my experiences, all of which combine to reflect on the process of intercultural learning.

- What do you expect from this internship? What are your dreams and expectations? What results have you already seen?

I would like this time to bear fruit not only in the form of scientific publications, but also in the form of specific artistic and educational activities. I combine scientific activity with a real impact on the community through specific artistic and educational activities. I have worked and continue to work with the Colours of Cambodia Foundation, founded by Bill Gentry. Thanks to this foundation, I have been able to conduct art classes in Cambodian primary schools, interview artists and other women, and observe their stories and the way art affects their lives. I hope to create a space for collaboration between artists, educators and researchers - a space where art becomes a bridge connecting different experiences and ways of thinking. I can already see that visual dialogue works - it is a tool for understanding that allows us to meet across barriers of language and culture. It is not just about individual expressions, but about creating community through art, about discovering that images can speak, provoke reflection and build new relationships.

The works presented at the ‘AERIAL ROOTS’ exhibition feature motifs related to Asian culture. Where did this idea come from, and why are you interested in Asian culture?

Asia has fascinated me for a long time – its approach to art, spirituality, the relationship between humans and nature. In Cambodia, I experienced how strongly culture permeates everyday life and art. My work is a reflection on how identity is built in these cultures – and how I, as a European, can relate to it.

- ‘AERIAL ROOTS’ - why this name?

- ‘Aerial roots’ is a metaphor - it means rooting that is not static but flexible, floating in space. It refers to the trees in the Cambodian jungle, whose roots are not rooted in the ground but entwine the space, looking for a place for themselves. This is how I understand identity - as a process, a movement, a constant dialogue with the environment. The name was invented by Hung Chien Hsu - the owner of the Blue Art Hub gallery, where I had a solo exhibition in 2024, my patron, and also a photographic artist. ‘Aerial Roots’ immediately struck me as apt - it captured the essence of my work and the way I perceive my artistic and research path.

- Do you think art can be a universal language?

- Yes, but not in an obvious way. Art is not always understood in the same way by everyone, but it has the power to open up space for conversation, emotions and reflection. This is enough to make it a tool for understanding - even if we don't always interpret it in the same way, we can experience it together.

- Thank you for the interview!

More about the AERIAL ROOTS exhibition