Within these paintings, movement and space pose a question which pertains to entering a work where place and time are undefined.  What is required is something personal; a thought, a color, an ephemeral quality of sunlight… a timeless sky as a universal space of collective memory.
With their low horizon lines, sculpted cloud formations and chiaroscuro lighting, Elzbieta’s swelling skyscapes recall the compositional techniques reminiscent of Van Ruisdael’s View of Haarlem from the Dunes at Oveveen (1670). Continuing the tradition of seventeenth-century Dutch landscape paintings, where the sky or water fills almost three-quarters of the picture space, Elzbieta’s personal take on the landscape is further touched by the quality of her own contemporaneity and nostalgia for turner’s subtle treatment of light and space, Caravaggio’s dramatic use of tenebresco, Monet’s organization of tone and pattern, and the forceful energy of nineteenth-century Polish painters like Chelmonski, Gierymski and Kotsis.
Elzbieta’s paintings depict large open spaces, such as skies and surfaces, defined by pattern formations which seem to always be on the brink of change.
Her skyscapes are an ongoing exploration of the nature of light and its potential to describe space in terms of movement. In her approach to the ever-changing subject matter of landscape, Elzbieta strives to capture the constant movement of the skies and of light itself, which results in an atmospheric blurring of boundaries between masses of land, bodies of water, and sky – between solid and void, matter and light.
At times seeping with the rich hues of a sublime sunset or the brooding darkness of an impending storm the paintings are at once inviting and ominous to the viewer.  Despite the variance among Elzbieta’s skyscapes, the ultimate thesis underlying her series is the ubiquitous nature of the sky. This is to say, the sky refers to a universal space of collective, rather than individual, memory.