Explores the slow forces through which form is altered over time: pressure, repetition, contraction and return.

Saturn appears here not as a fixed symbol, but as a principle of limitation and structure — the force that gives form through resistance. Across the paintings, gestures accumulate, erode and reorganise; dense passages meet open space, while recurring forms seem to surface, disappear and return in altered states.

The tide introduces another rhythm: cyclical rather than linear, continually withdrawing and returning, reshaping what it encounters through repetition. Between these two forces — Saturn and tide — the works consider transformation not as sudden rupture, but as something gradual and elemental: matter subjected to time, movement and constraint until another form begins to emerge.

Created in single, uninterrupted sessions — fast, instinctive, and unfiltered.
Paint, water,  gravity, and nature shape each piece, capturing motion before it becomes meaning.
Often formed outdoors in shifting light and weather, these studies trace the moment where an element changes state: liquid freezing, frost dissolving, roots emerging.
They exist between control and accident, structure and collapse — fragments of movement caught in their first breath

Shadow Archives enters the shadow not as something to overcome, but as a territory to inhabit.

The works move through contradiction: anguish and ecstasy, attraction and repulsion, violence and tenderness, dissolution and emergence. Rather than separating these states, the paintings allow them to occupy the same surface, where gestures collide, obscure one another, mutate and reappear.

Here, the shadow is understood not simply as darkness, but as everything that resists containment — the instinctive, excessive, ambiguous and unresolved. Each painting becomes an archive of these encounters: traces of movement and sensation held temporarily in form.

Fire, smoke, fracture and luminosity recur throughout the works. Destruction and creation remain inseparable; the same gesture that obscures can reveal, and the same movement that breaks a form can generate another.

These studies emerged through a period of experimentation and play. Gesture became looser, colour more expansive, and form was allowed to develop without a predetermined direction.

The works explore what happens when structure gives way to spontaneity — when painting becomes less an act of resolution and more a process of discovery. Marks accumulate intuitively, forms appear and dissolve, and unexpected relationships are allowed to remain.

Rather than seeking a fixed outcome, the Barcelona Studies embrace curiosity, improvisation and uncertainty, allowing the process itself to determine where each painting might lead.

A dialogue between breath, gesture, and disappearance, this collection is stripped to its essentials. Ink, water, and paper capture immediacy: marks that appear like whispers, dissolving even as they take form. These works are records of presence — meditations on how little is needed to carry an intensity of being.

Created before the unfolding of later series, these early works form a quieter stratum within Klaudia Zabek’s practice. More contained, yet already carrying the seeds of dissolution, shadow, and renewal, they reveal the first outlines of a voice beginning to find its edge—roots from which later cycles would emerge.