Zuzanna Całka: The Search for Inspiration

Three Windows to Creativity: Literature, Film, and Art

It’s a cold November day when we conduct our second interview with Zuzanna Calka for our infamous section, The Search for Inspiration. In each edition, we ask our Artist of the Month to share three things that frequently inspire them—things they hold on to or draw from for creative energy. Let’s dive in.

Zuzanna begins by saying, “I gave it some thought, but musically speaking, there are so many composers I love and draw inspiration from.”

If you had to pick one, who would it be? I ask.

Zuzanna laughs and replies, “I really can’t tell you. It changes all the time. One day I’ll wake up inspired by Debussy, the next day by Ravel. I should also mention that I don’t often listen to music because I’m surrounded by it all day.”

Curious now, I press further: If it’s not music, what have you brought us today?

“I’ve chosen three pieces of inspiration from literature, film, and art that I truly love. First, there’s a book I’ve been reading since I was a teenager: One Hundred Years of Solitude by Gabriel García Márquez. I revisit it now and then.”

What makes it so special, in your opinion?

“Well, first of all, I absolutely love it. In some ways, it’s comparable to music—the words in the book evoke rhythms. Márquez has an incredible sense of how to use just the right amount of emptiness between words, which makes it mesmerizing to read and makes room for ones interpretation”

Tell me more about the book.

“Márquez was an early pioneer of the magical realism genre in Latin America. It’s best described as a story set in the real world where magical things happen blurring the lines between the two worlds.”

Like the Harry Potter books? I suggest.

“No, not at all,” she says. “The story revolves around the rise and fall of the Buendía family in a fictional town called Macondo—a place doomed to decay. It’s grounded in reality, but magical elements weave through the narrative. The book reads like a novel enriched with metaphors and symbolism.”

Are you particularly drawn to Latin American culture?

“It’s not that I have ancestral roots there, but this part of the world feels exotic to me. As a teenager, this book was my only reference to Latin America since I lived thousands of kilometers away. One day, it found its way to me, and I thought, This is absolutely wonderful! The words Márquez uses felt very inviting for my imagination to grow. This book was an introduction for me to Latin American literature what makes it so special for me. Magical realism was somehow a new form me, and different from other genres that I grew up with in my European cultural circle.”

Our conversation detours briefly into Harry Potter and Dune, before circling back to the next item Zuzanna has brought.

Speaking of movies, you’ve chosen something cinematic, haven’t you?

“That’s correct. I’ve brought a film called The Mirror by Andrei Tarkovsky, a Soviet director. I’m still in the process of fully understanding it myself.”

I’m intrigued. Tell me more.

“This movie had a profound influence on cinema in general. Tarkovsky is like a poet of filmmaking and had a profound influence on cinema in general. His films, especially The Mirror, are deeply symbolic and spiritual. The movie is filled with eternal questions, like: Is there a spiritual world? What is it, and how should we feel about it? As you watch, he continually throws symbols at you, and when you start to notice them, you gradually uncover the deeper meaning. It’s fascinating how the story unfolds through these layers.”

When you mention the spiritual aspects, does it resonate with the question of whether there’s something greater than ourselves?

“I think it’s a lifelong challenge to keep asking ourselves those questions. Is there something bigger than us? I believe there is. But what is it, and how does it shape us? That’s what I’m searching for.

Promising to watch the movie, I ask her what she takes from it for her creative process.

“I love the linear story-building in the film. I’m inspired by how Tarkovsky structures his work and experiments with form. Looking at other art forms besides music helps me think in fresh ways. If I only drew inspiration from music, I’d end up following a recipe.”

That brings us to your final pick. You’ve chosen a visual piece of art. By whom?

“It’s by Wojciech Fangor, a Polish artist. You might not know him, but he’s very famous in Poland and the USA. His art is contemporary and minimalist—two words often associated with ‘easy,’ but not with Fangor! What I love about his works is that I can enjoy them in galleries around the world, but also in public. Take a train or metro in Warsaw and Fangor’s art can be found anywhere.

What makes his work different, in your view?

“He was one of the first Polish artists to embrace minimalism. There’s something captivating about the way he blends circles in his paintings. Anyone who walks past his art can’t ignore it. Unfortunately, Google images don’t do it justice—they look flat. But standing in front of his paintings, you feel drawn into them. Do you know what I mean?”

What feeling do you get when you look at his work?

“At first, it seems simple. But as you begin to understand the layers beneath the surface, a sense of calm washes over you. I always think his paintings would make incredible album covers.”

What’s holding you back?

Zuzanna laughs. “I’d have to ask, but I’m not sure it would work. His paintings sell for large amounts in Poland and abroad. But who knows…”

Final thoughts, if you had to pick a favorite among these three sources of inspiration, which one would it be?

“I really cannot choose. I can only add that apart of film, literature and art – architecture and nature also fuel my inspiration. When I think about nature – it’s endless beauty, possibilities, forms, rhythms, shapes, patterns – there is no better source than what we already have. That’s why we should really take care of it as its the purest form of art.”

To wrap up, our conversation with Zuzanna Calka has been an inspiring journey through the elements that fuel her creativity. From the rhythmic words of Gabriel García Márquez, the profound symbolism of Tarkovsky’s The Mirror, to the minimalist allure of Wojciech Fangor’s art, Zuzanna shows how diverse art forms come together to shape her perspective as a composer.