Martyna Rzepecka is a printmaker and visual artist. She works in traditional printmaking techniques (primarily relief printing), expanding her practice to include tactile objects and installations. She is fascinated by corporeality and the body as an object, which serves as both a visual inspiration and a form she repeatedly deconstructs and transforms in her drawings and prints. She refers to her linocuts as bodycuts.

From the beginning, the artist has consistently focused on fragments and on removing specific identity from figurative representations, attempting to move away from literalism toward creating tension in the interpretation of her works. Currently, her practice engages with the context of female corporeality. Observation and the presence of the body within the printmaking process, as well as how it evolves over time, are also central to her work.

Her passion for fencing naturally intersects with her artistic activity. Since 2023, while working on the Left Hand Exercises project, she has focused on the presence and physical demands of her own body within both the creative process and fencing training—transforming physical limitations into new artistic value.

Drawing plays a crucial role in Rzepecka’s practice: it is the starting point of the process, a visual record of thoughts and emotions, an intuitive manifesto, and ultimately an independent form of artistic expression. Building on traditional printmaking, she also creates spatial works— installations and objects that capture the process of carving into the matrix.

The creative act itself—cutting and preparing the matrix—is considered by her as the center of the printmaking process; in this understanding, the matrix functions as an independent artwork. The process of carving linoleum becomes a form of meditation—a confrontation with resistant material, revealing the tension between gesture and matter. It is the point of contact between the artist’s body and the graphic “skin” (matrix).
Simultaneously, during creation, she collects and documents ephemeral traces of the process: imprints of the matrix on the skin, the studio floor, and remnants of the matrix that would traditionally be discarded. Rzepecka exhibits these “residues” alongside her works as derivatives of the process, both initiating the print and forming an integral part of the creative act.
Her experience working with audiences has informed her interest in the artist–viewer relationship.
She frequently opens her works to haptic engagement, inviting direct tactile interaction. Through touch, she allows for an ambiguous entry into the creative process, which is typically invisible.