Beata Ewa Białecka’s paintings are often interpreted in the perspective of Christian iconography and its reception. The references contained in her paintings are legible but she does not simply aim to appropriate the traditional canons of representation to contemporaneity. The significance of her works touches a deeper symbolic aspect. The artist reads and deciphers feminine senses concealed below Christian iconography, reveals the long forgotten feminine aspects of the spirituality. In her contemporary pietas she paints, Madonnas surrounded by daughters, scenes of christening and simple everyday family portraits, she accentuates the value of the ties bonding women and uncovers the lack of them in religious, iconographic images established by tradition. Such an assumption could explain why, alongside the images of religious genealogy (and not only the Christian one), Białecka paints mythological figures or portraits of woman recognized in the secular world, in culture and also in the popular genres. Thus the portraits of Ophelia and Amanda Palmer. She also suggests female „equivalents” to the masculine representations: The Good Shepherd, Saint Sebastian or, in „The Virgin and Child with St. Anne” a little girl-Christ. However, these are not merely feminist gestures. With her works Białecka is demanding the broken bonds: the feminine, primordial and pre-Christian part. The non-Christian gods and idols introduced into her paintings seem to be yet another gesture of re-introducing the feminine element into the post-biblical, almost completely masculine world of spirituality and religion. The feminine figures from her paintings are distinct, accomplished, carnal and outlined with exceptional clarity and precision. Their “confidence” and “concreteness” concern both their tangible existence in the painting and... [Lena Wicherkiewicz, 2014] (http://elhurgador.blogspot.nl/search/label/painting?updated-max=2017-07-29T06:42:00%2B01:00&max-results=20&start=27&by-date=false) undefined

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