Agnieszka Brzezanska’s paintings show arrested narratives, self-contained motifs, every single one a very different story. Their intensity derives from a total concentration on one single mundane object, monumentalized to an alienating point like the gigantic black electricity pole in 800 MHZ against a white sky. Ghostly creatures appear in an opaque staging, at times unsettling, as in Painting which kills, or absurdly playful like the flying snowman in Venus. A tropical forest soaked into burning red, with loosely sketched palm trees standing in a fire is titled the Sixth Extinction. The picturesque motif suddenly morphs into an apocalyptic scenario. But Brzezanska’s style of painting always keeps the drama at the level of an hallucinatory matter-of-factness, a quite unique tension with which she treats her subjects. Kept in grey tones, the painting Spectacle shows an anonymous crowd of people raising their arms in exaltation up to an illuminated void. The motif gives rise to a range of interpretation: it could be a religious assembly, a political mass event, or a rave.