Ewa Wes is a Polish visual artist and sculptor born in 1982 in Krakow, Poland. Her practice focuses on sculpture and installation, investigating how invisible forces become perceptible through matter, inscription, and spatial experience. Working with objects, installations, two-dimensional works, and interventions in public space, she develops systems based on registration, repetition, seriality, and spatial relations. Across sculpture, installation, public-space works, and two-dimensional works, Ewa Wes develops a continuous body of work concerned with inscription, memory, duration, and the perception of spatial relations. Her installations are composed of multiple elements in which meaning emerges through the relation between objects and through the movement of the viewer in space. Her two-dimensional works extend the same logic of registration into a flat format, while her public-space interventions introduce durable objects and inscriptions into existing urban, architectural, and landscape contexts. In 2022, Ewa Wes realized Liminality, a permanent public artwork at Oawa Mountain in Kamiyama, Tokushima, Japan. Situated in the forest, the work was conceived as a place without a predetermined function or meaning. Consisting of a concrete platform, a stone surface, a bench, and carving tools available to visitors, it remains open to the gradual accumulation of traces produced through repeated encounters. Ewa Wes has exhibited internationally and has participated in exhibitions, residencies, and research programmes in Europe, the United States, and Japan. Ewa Wes received an MFA in Sculpture from the Jan Matejko Academy of Fine Arts in Kraków in 2007. In 2022, she completed a PhD in Arts and Conservation of Works of Art at the same institution. Her doctoral research examined the relationship between art and science, focusing on historical changes in the understanding and representation of time and space before and after the formulation of the theory of relativity. In 2020–2021, she completed the Of Public Interest post-master programme at the Royal Institute of Art (KKH) in Stockholm, where she participated in OPI – Of Public Interest Research Lab.