Subsequently, Gargulinska's paternal grandmother was taken to a camp in Siberia where she was later liberated by General Sikorski's army and took part in its exodus through the Middle East.

The numerous relocations the family had to endure interfered with Gargulinska's education causing her to have a sense of displacement, however, it encouraged the development of her artistic talent.

After a three-month stay in Paris at the age of seventeen, Gargulinska decided to change her initial plan to study French Philology, and entered the Academy of Fine Art in Kraków.

In 1972 Gargulinska managed to obtain permission from the communist security office to travel to London where she worked as a set and textile designer as well as a visual artist for a year.

Her paintings are collected worldwide, most notably by Doctor Arthur Sackler (founder of the new wing at the Royal Academy, London and the extensions to the Metropolitan and Smithsonian Museums in the United States), Cusacks, Jeremy Irons, Sir Michael Scott and Vernon Ellis, Chairman of the English National Opera.

"[3] These works, rendered in a variety of reds, from subtle orange to deep Alizarin and brown Madders are drawn from the subjects of mythology and drama.

These beautiful, passionate outpourings of grief on the death of his two-year-old daughter are a perfect expression of that Polish intensity of feeling which surfaces in Ewa Gargulinska's dark, brooding paintings.

Her consistent colour range of deep blue, red, purple, offset by occasional outbursts of acid yellow, explores a world of melancholy and sorrow, the ‘haunts of pain’ of the poets mourning.

I draw images from both my imagination and collective symbolism, pondering how spirit animates matter and how it leaves the body.” Gargulinska focuses on the complexity and dynamic of three; creating figurative yet elusive forms of intermingled heads or faces, each portraying a different emotional state, nature and tension.

“During my life and career as an exhibiting artist I have changed my modes of expression many times from figurative to abstract, from dark, obscure, ephemeral, reflective painting to passionate free manifestations of form, colour, and texture.

The impulse to represent beauty in physical and metaphysical aspects renders my paintings with an almost classical perfection, followed by periods of complete liberation from its restraints.