Maria works in small scale ceramics or bronze as well as big scale bronzes for architecture.


COMMISSIONS SELECTED                              

2004             "Nike" - 2,4 meters,  stoneware sculpture  for Olympic Ceramic Sculpture Museum, Commissioned by Municipality of Amaroussion, Athens,  Greece

1999             "No Regrets 2" bronze 2,1 meters, commissioned by Jill and Neville Wran, New South Wales, Australia

1994             "No Regrets" bronze 1,9 meters, commissioned by A.S.E.R. for the Hyatt Terrace - Art for Public Spaces, Adelaide.

1993 -1994   Entrance to Family Court of Australia, Portal sculpture, bronze 2,5 x 4,5 meters, Sydney - Australian Construction Services. Arch. P.Armstrong





2002         - Museum A.Bourdelle, Paris, France - "Prix  Bourdelle 2001”

2001         - Westerwald - Museum of Ceramics

2000         - Ceramic Museum - Boleslawiec

1998         - Refectory Gallery - Kartuzy (International Triennale of Art)

1997         - "Kordegarda" - State Galery of Contemporary Art , Warsaw, Poland

1992         - Christine Abraham's Gallery, Melbourne, Australia

1992         - Leonelli Gallery, Lozanne, Switzerland

1989         - Allrich Gallery, San Francisco, USA

1988         - Macquarie Galleries, Sydney

                  - Christine Abraham's Gallery, Melbourne

1986         - Macquarie Galleries, Sydney, Australia 

                  - Christine Abraham's Gallery, Melbourne, Australia

1982/83    - Major Australia - touring exhibition

1981         - Galerie Schneider, Freiburg, Germany

1980                  - Palazzo delle Esposizioni, Faenza, Italy, Prizewinner "Prix

                  Faenza" exhibition

1979                  - State Gallery of Contemporary Art, Gdansk, Poland




2003         - World Ceramics 2, Handswerkskammer, Koblenz

2002         - XVII International Ceramics Biennale, Vallouris, France

                  - Biennale de la Sculpture en Ceramique, Mamer, Luxemburg

                  - Erkenbert Museum, Perron Kunstpreise, Frankenthal, (Pfalz), Germany

2001         - Ichon World Ceramics Exposition 2001, Korea

2000         - I.A.C. Exhibition, Museum of European Ceramics, Frechen, Germany

                  - The 6th Taiwan Golgen Ceramics Award, Taipei

1999         - Bayerische Kunstgewerbe - Verein, Munchen, Germany

1998                  Kunstforum Kirchberg - The Human Figure, ceramic sculpture I, Switzerland

                  - Shigaraki Cultural Park, Museum of Contemporary Art, Shigaraki, Japan

                  - Frauen aus Europa, Galerie Marianne Heller, Heilderberg, Germany

1997         - Seoul Ceramic Art Biennale 97

                  - The 8th International Print and Drawing Exhibition, Taipei, Taiwan

1996         - Posio `96 International ceramic Event, Posio, Finland 

                  - Total Museum of Modern Art, Seoul, Korea

                  - International  Academy of Ceramic Exhibition, Saga Prefectural Art Museum, Japan

1995         - Tendendenzen 95 Polnishe Plastik, . Keramion Museum of International  Ceramics, Frechen, Germany 

1994         - International Exhibition of Ceramics 94 -  Fine Arts Museum, Taipei, Taiwan

                  - Gunter Grass Competition "D.Chodowiecki Prize for pastels and drawings", Akademie der Kunste, Berlin

                  -  I.A.C. Exhibitions Museum of Decorative Arts, Prague, Chech

1992         - Chicago international New Art Forms Exhibition, Chicago U.S.A.

                  - Yildiz Palace "International Academy of Ceramic Exhibition" Istanbul, Turkey

                  - "Plastik aus gebrannter erde" - European Ceramic Exhibition"  Kleinsassen, Germany

                  - "Australian ceramics", Gallery L. Hamburg, Germany

1990         -I.A.C. Exhibiton Glasgow,  Edinborgh

1988-91   - Archibald, Wynn & Sulman Prize Exhibitions N.S.W. Art Gallery

1989          - Bronze sculpture, Mucsqarok Museum, Budapest, Hungary

                  - Invited Masters "Triennale de la Porcelain", Nyon, Switzerland

 1988        - International Congress and Ceramic Exhibition, Tallavera della Reina, Spain

1986         - International Art Fair Bassel, Switzerland

                  - Elisabeth Schneider Award Exhibition, Galerie Schneider, Freiburg, Germany

 1984        - "Head and Bust" Galerie Schneider, Freiburg, German 

                  - I. A. C. Brocton Museum of Art, Boston, USA

                  - Biennale of Small Forms in Ceramic, Budapest, Hungary

                  - Christchurch Festival if Art, New Zeland  

1982         - Elisabeth Schneider Gallery, Freiburg

1981         - Carmen Dionyse Intentional, Ghent, Belgium

                  - Koester Ceramic Gallery, Mounchengladbach, Germany

1976         - Young Artist Biennale, Sopot, Poland




2001               -  Prix  Bourdelle 2002. For achievements in sculpture, award  of Museum of A. Bourdelle

1994               - Daniel Chodowiecki 1st Prize, Akademie der Kuste, Berlin, Germany

1979               - Grand Prix. Faenza 37 International Ceramic Art Competition, Italy

1978               - Gold Medal, Faenza 36 International ceramic Art Competition, Italy

1979               - II Prize - competition for monument to the Polish painter and poet S.Wyspianski Krakow, Poland

1976               - 2nd Award, Biennale of Young  Artist, Sopot, Poland 




     Maria Kuczynska work has been concerned with the place of man in the contemporary world and thematically this is what informs the working the present exhibition. The contrast between the individual and cosmos, between mortality and immortality are also voked, as is the importance of the individual's contribution to the history of which he/she is a major component. For Kuczynska, art's role is that of a witness to, judge of, and a participant in the continuum of life.

       Formally, the above issues are manifested chiefly through the image of the standing figures, work whose obdurate frontality insists on active viewer involvement. The use of references to Oriental, Classical and Mediaeval cultures continues the artist's historical stance. These references are never mare visual allusions but strong and integral parts of the artist's contemporary visual vocabulary.

       Kuczynska's work is part of both a ceramic and sculptural tradition, and it is revealing of her artistic integrity that she is able to combine both these traditions into beautifully resolved wholes. Her surfaces are carefully modulated, adding to the powerful planes of the torsos and things, yet not in any way diminishing their autonomy as integrated elements of the overall unit. The viewer is invited to examine closely, to investigate and to discover. The artist's attention to surface dose not however detract from the impact of the total work. The rhythmical spatial flow around through the works gives to each of them a determinedly solid presence. This flow is further emphasized by the almost liquid flow of the planes and the evocation of movement, slow and deliberate, inherent each work. In Kuczynska's work the amalgam of forms, surface, and spatial configuration is a fortuitous one, with each element retaining its own integrity, yet all adding to the work's final resolution.

         Kuczynska's art is enigmatically eloquent - at once sensuous and majestic, imposing and intimate, dynamic and calm. Its beauty is self-evident, but it is beauty with as much to do with the strength of the artist's belief in the innate dignity of the individual as with the strength of her aesthetic resolution. The formal power and determination of her work become a metaphor for the continuing importance of the individual's contribution to the continuum of life.


Peter Haynes.
Curator of Exhibition
Canberra School of Art, Australia

An aesthetic language: Monumental sculpture (fragment)

    Her love to Greek art and studies et the Academy of Gdansk made her particularly interested in Monumental sculpture: sculpture integrated in architecture, which has the character of spatial architecture. The mystery of her interpretation of Monumental sculpture lies in treatment of the dimensions of her subject.

    Often, this effect can be achieved through the calculation of proportion, the establishment of volumes, a mastery of scale and the choice of positions the statues. The standing position, arms beside the body, one leg slightly forward gives the statue an affirmative character. As a result, a calm and noble assurance is present, leading to a dialogue between spectator and statue, actively involving the viewer. (... ..)

Maria Therese COULLERY
Secretary General of the International
Academy of Ceramics, Geneva Switzerland



Address in Australia:

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