Deux Meus

For an artist, exhibiting work abroad is much more than just the logistical task of moving objects from point A to point B. It is the moment when material forms the fruits of an intimate creative process leave the safe space of the studio to enter a completely new microcosm of relationships, procedures, and human gazes. Every such journey is a profound test: to what extent can the outside world respect the delicate nature of a work of art, and to what extent does it attempt to confine it within soulless, bureaucratic frameworks. From April 11–25, 2026, my two small paintings had the pleasure of becoming part of the group exhibition “NEW BEGINNINGS” in the United Kingdom. Today, now that the excitement has subsided and the canvases have returned to the studio, I want to share with you without sugarcoating, yet with deep, metaphysical reflection the behind-the-scenes story of this collaboration, where the artist’s intuition collides with the harsh reality of bureaucracy, and where the ultimate winner turns out to be simply the human spirit.

The exhibition has found a home at The Drawing Room Gallery, located in the heart of Nottingham at Cobden Chambers on Pelham Street. The gallery itself is a space with a unique atmosphere, hidden within the city’s architecture like a secret waiting to be discovered by a passerby. When we think about presenting art, the key is the harmony of the environment, where the canvases begin to take on a life of their own. In Nottingham, the interiors were clean, perfectly and professionally lit with natural and artificial light, and the works themselves were displayed in a balanced manner. It is the moment when you feel that the gallery understands the weight of the artist’s gesture the paintings were not merely “wall fillers” there, but autonomous entities provided with the appropriate backdrop and respect for a dialogue with the viewer.

Experience has taught me, however, that the creative process comes to an abrupt halt the moment international wire transfers and banking procedures come into play, and the artist must become a cool-headed analyst concerned with the security of their work. Before the funds left my account, I subjected the entire project to a meticulous review. In the austere, official information structures, the second entry in the address directory was initially missing, and the gallery did not provide a complete set of promotional materials or photos from the opening itself at the outset I had to personally request all these missing pieces of the puzzle. However, where traditional, bureaucratic records fell short, the gallery more than made up for it with energy in the virtual space. Unlike many places that neglect the internet, their Instagram was teeming with authentic life. The huge number of posts, engaging Stories, and meticulous documentation of the event provided clear proof that the exhibition wasn’t a dead project, but a vibrant spot on the city’s cultural map. This digital presence was a sign to me that my work had found its way into the hands of people who truly care about building artists’ reach and visibility.

The most important lesson I learned from this journey is that the quality of a collaboration isn’t determined by the glitz of an opening reception, but by what happens when the lights go out and soulless regulations get in the way. Email communication with The Drawing Room Gallery was exemplary throughout a clear, fluid, and transparent exchange of messages, with no trouble obtaining additional materials or answers to even the most detailed questions. But what was most beautiful was that their commitment didn’t end on the day the exhibition closed. The post-Brexit reality and the return of the works to Poland turned out to be a major setback. The return of the shipment became a showcase for the scandalous behavior of the UPS courier company, which demonstrated a total lack of respect for the law, ignorance of customs regulations, and an absolute lack of professionalism. In all this chaos, at this difficult moment for me, the gallery behaved in an extraordinary way. They didn’t wash their hands of it. Until the very end, I maintained constant, supportive contact with them they helped me with customs documentation, answered my questions, provided ongoing feedback, and shared my frustration with this absurdity. In a world where the corporate machine treats art as mere “transit goods,” the Nottingham gallery’s attitude was like an oasis of normality and pure, human respect for my work.

If I were to evaluate the timeliness, delivery schedule, security of goods, and overall logistics of this collaboration within a strict, point-based framework, I would give it a very high rating without hesitation. The “NEW BEGINNINGS” exhibition became for me more than just a display of paintings in England. It was a lesson that even when external systems and carriers fail, carefully chosen partners who base their collaboration on empathy, excellent communication, and professionalism can uphold the artist’s dignity. It was a beautiful, mature, international beginning another step on a path where I am increasingly clear on how to set boundaries and with whom I want to co-create my artistic future.

Deux Meus is a company with a passion for art, offering unique paintings, handicrafts and decorations to add character to any interior. Discover my diverse collection!

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